Jeron Coolman
Forum Replies Created
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Well, the fact that you can’t capture analog via component-in is disturbing. That would imply the RS-422 deck control is causing problems.
Can you “crash-capture” via component-in without the RS-422 deck control by clicking record in the application and pressing play on the deck? That would eliminate any “deck-specific” items.
With Machina, you can tell it a start point and end point to capture. I have a real hard time with the Machina user interface. It isn’t very intuitive to me. I think you “pick” different record modes using the little arrows at the bottom of the playback window.
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Just some things off of the top of my head…
1. I didn’t catch which capture utility you are using. Have you tried both Premiere and Machina? (It has been so long since I used Premiere to capture, I’m not sure if you can use it with the Xena to capture.)
2. Have you tried capturing the HD downcoverted to SD through the Xena using Machina? If that works, it might tell us something, not sure what though 🙂
3. Have you tried capturing to both AVI and MOV files? I remember at one point in the Xena driver version history, capturing to AVI was a horrible mess.
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That’s about right, give or take depending on whether you go 8bit or 10bit. 450gig for 8bit per hour and just under 600gig for 10bit per hour.
Aja has a great data rate calculator and system test utility for free download on their web site.
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I hadn’t realized you were capturing analog through the Intensity. I thought you were just monitoring through it.
I’ve captured the same tapes analog through a Xena LH and HD-SDI going through an HD-Connect LE, but with Aja’s Machina capture program, not Premiere Pro’s.
That uncompressed HD footage all worked fine in CS3. I had to turn to another NLE for my HDV workflows, because I encountered too many bugs in CS3. Premiere Pro 2.0 didn’t have any of these problems, it worked pretty good.
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Capturing HDV through firewire using Premiere Pro CS3 is pretty much broken.
I tried capturing over 20 tapes and not a single clip was usable due to audio synch problems and/or multi-cam synch problems. Some of the clips would look fine as far as audio synch, but those same clips wouldn’t synch properly with other clips with multi-cam.
Furthermore, projects would take forever to load (more so than usual) and CS3 stability was bad (more so than usual) if I had a CS3-captured HDV clip in any project.
Clips from the same tapes captured in PPro 2.0 or Vegas worked just fine in CS3. Other people reported that HDVSplit worked fine as well.
Use another program to capture the clips. If you capture your HDV with CS3, you are asking for problems…
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John, I can’t duplicate the problem any more.
I created a new project with a sequence and a 10 second clip and I can’t get it to break, so I tried to open my project that I had problems with and it won’t open any more.
I guess the problem has to do with that project being bad. PPro CS3 is so unbelievably unstable when it comes to HDV (pretty much unusable, actually), that I’m not surprised if the problem is just CS3 and not BCC.
If I can duplicate the problem again and send you an example, I will.
Thanks for the help,
Jeron
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Thanks alot John. I’ll send you an example ASAP.
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You will need to use the Xena filters for any realtime. My #1 wishlist item is for a real-time Xena transition filter. The problem with a transition filter, is that it would require 2 streams of uncompressed HD to accomplish it and that’s a lot of bandwidth.
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Hey! Get out of my dream!!!
🙂
The only compressed format I know of that you can capture into is Cineform.
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Thanks alot Peter.
Be sure to test it with HDV media.
I haven’t had a chance to test BCC 5.0 with PPro 2.0, yet. I have used BCC 4.0 with PPro 2.0 quite a lot 😉 (And BCC 4.0 AVX with Xpress Pro too)