Jeremy Garchow
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Tony’s right. Get the sony crt monitor and don’t look back. Hurry though, as soon as the current batch is sold out they are gone forever. SOny has stopped maunfacturing the PVM L5 series. I have a 20 L5 and it’s a great HD and SD monitor. The 14′ is much more manageable if you are going to be taking it on shoots. The 20″ is a monster.
Jeremy
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G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre
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I think I have narrowed it down to some sort of timecode/reference/sync/audio issue. This project consists of talking heads and some run and gun broll. I am able to capture all of the talking heads when there’s two tracks of audio with no problems what so ever. It seems though that on some of the Broll shots that have mixed audio and no audio are the only shots that cause the dropped frames. It’s as if something is screwy in the signal coming from the 1200A. I cannot log & capture them, I can’t capture them now. I have tried capturing with just video and no audio, but it doesn’t make a difference. When I do try to capture now the “allocating disk space” tag line stays up for 5-10 seconds, which in turn leads to dropped frames and I now know that this part of the tape cannot be captured. When I capture now of some of the talking heads there is no “allocating disk space” warning which makes me think that somehow these shots are different. Does anyone have any kind of experience or advice as to what this might be? I don’t have tri sync so I can’t set that up, I have tried no sync, and syncing to incoming video on the deck. I have put it freerun, regen, everything I could think of to try and get a “better” or more stable signal. I have tried switching to non controllable device and capturing now, but i still can’t get it to get down to disk. This situation occurs on multiple tapes, not just one.
I need some help. Any information is much appreciated.
jeremy
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G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre
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Hey Gary, thanks for the response. I tried setting my rt to unlimited before, but then I get all sorts of dropped frames. I have 4GB of RAM installed, and I did double check to make sure the capture scratch is of course going to the fibre. I’ve trashed prefs, reset the settings, repaired permissions, everything. I don’t have a problem with 24p stuff, but my system seems to reject 60p.
I was going to go to the Varicamp, but lucky for me I’m a workin’ guy. 🙂
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G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre
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Try deleting your audio render files and redo the mixdown.
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If I’m not mistaken, the drivers for the io are written by apple. I bet AJA is waiting with baited breath just like all of you guys. Don’t blame AJA, blame apple.
The future is still in the future…for now.
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D10AD as the configuration is easily selectable via dipswitches. The D10A needs to be set via internal jumpers. D10AD also converts composite video as well.
My 2 cents.
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We use it on the road and in the studio for a firewire ingest deck (that’s about all it’s good for). It comes in handy because it is small, light, extremely portable, and handiest of all, battery operated. In fact it has won some business for us on a couple of occasion. Often we will start to throw together a promo on a powerbook of the stuff we shot earlier that day. The client takes a look at what we can do and decides to use us as a post house as well. Very handy. I wouldn’t suggest it for crucial monitoring (it only has S-Video or composite to feed another monitor, and the quality of the built in lcd is negligible), but it does get the dv footage in the machine very easily in it’s native form.
On the other hand, if you want to go uncompressed, this is not the deck for you.
Hope this helps.
Jeremy
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We use it on the road and in the studio for a firewire ingest deck (that’s about all it’s good for). It comes in handy becuase it is small, light, extremely portable, and handiest of all, battery operated. In fact it has won some business for us on a couple of occasion. Often we will start to throw together a promo on a powerbook of the stuff we shot earlier that day. The client takes a look at what we can do and decides to use us as a post house as well. Very handy. I wouldn’t suggest it for crucial monitoring (it only has S-Video or composite to feed another monitor, and the wuailty of the built in lcd is negligable), but it does get the dv footage in the machine very easily in it’s native form.
On the other hand, if you want to go uncompressed, this is not the deck for you.
Hope this helps.
Jeremy
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