[Jimmy Brunger]

Sorry – I’m talking about on Windows XP Pro 32, not mac. I think that new 6.3 driver is for mac isn’t it?

Anyone use 4GB on Windows?

Also…does anyone know how to use Decklink SPDIF audio in AE, so my audio and video is TOTALLY in sync on my broadcast monitor? It’s fine in PPro2, but AE doesn’t seem to use Decklink audio and so is only in sync on my PC monitor..?

*Production Studio Premium / *Combustion 3
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Win XP Pro SP2 / Intel P4 3GHz / 2GB RAM / GeForce FX5200 / DeckLink Pro / Sony BVM-20G1E / DVS SDI Clipstation / 110GB boot/80GB media/600GB RAID-0

[Jimmy Brunger]

Either chop it up into pieces and use perspective and distort transforms to fake a 3D case, or easiest way is to just print your art and slip it into a case and shoot it!

[Jimmy Brunger]

You don’t have to convince me Dave! But I’m only the graphic artist..the producer is going to listen to the director over me unless I can prove he’s talking balls. I can understand COMBINING the fields to make a progressive frame (tis like Andrew Kramer’s deinterlacing tute – you don’t lose any of the fields and so the resolution remains the same) but I still can’t see how you can get the same kind of natural motion blur that you would just shooting prog in the first place!?! This director (who’s actually pretty good on the whole – usually shoots 35mm, not HD I think) says that when they did the test (an automated pan on a motion control rig I presume – to compare shots) the progrss shot stuff was jerkier in it’s motion – this is his problem with it. Now I don’t know my way round a HDCAM camera, but our in house camera assistant and hire guy reckons there’s nothing wrong with prog.

Blimey, I’m just trying to save my producer time and money, whilst saving myself a bit of work aswell. Eee I don’t know..

[Jimmy Brunger]

I’ve already emailed them several times Mike..no replies for weeks!

[Jimmy Brunger]

Sorry Dave, what I meant, or what he said was “Combining the fields in post is better than the camera combining them as it would when shooting prog”…does that ring true, or is it total boll0x!?

[Jimmy Brunger]

I’m totally with you guys…all stuff that I mentioned to the producer/director – the director reckons he’s done tests in the past with the camera we had in mind (Sony HDW-750P) and they got better results deinterlacing the 50i stuff in post than they did shooting progessive in the camera. I reckon that’s rubbish – I really can’t se how that’s possible. He was saying something like “taking the fields out in post gets better results than taking them out in camera”..If I’m not mistaken nothing gets ‘taken out’ in camera, it just doesn’t record to fields in the first place?

I know they will have been doing the tests on an Avid DS Nitris, probably with a load of fancy plugins and algorithms, but why go through all that hassle and render time just to end up with what you would have straight out of the camera in the first place?!? Surely, like you say it would be captured more naturally in camera anyway..

*Production Studio Premium / *Combustion 3
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Win XP Pro SP2 / Intel P4 3GHz / 2GB RAM / GeForce FX5200 / DeckLink Pro / Sony BVM-20G1E / DVS SDI Clipstation / 110GB boot/80GB media/600GB RAID-0

[Jimmy Brunger]

Hi Moldy, cheers for the reply. The destination is UK broadcast on digibeta..I mainly do mograph work and this job is a bit of a new thing for me..I usually render my graphic work out progressive, just prefer the look. They want a filmic look for this and I just thought shooting progressive would give them better movement, as well as making life easier for me in AE, otherwise I’d either have to deinterlace the footage to do everything progressive and treat the footage to make it more filmic (I’m sure there would be image quality loss..?) or separate fields and render everything interlaced. (Not my fave option) The main issue being that I can’t see the interlaced result until I render my comp and view in Premiere..I want to be able to see *exactly* what it will look like in AE previews…why AE doesn’t have fielded previews stil baffles me!

I’m in a bit of a confused pickle!

*Production Studio Premium / *Combustion 3
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Win XP Pro SP2 / Intel P4 3GHz / 2GB RAM / GeForce FX5200 / DeckLink Pro / Sony BVM-20G1E / DVS SDI Clipstation / 110GB boot/80GB media/600GB RAID-0

[Jimmy Brunger]

Yes, I think I’m making my titles a line too big – bettersafe than sorry!

*Production Studio Premium / *Combustion 3
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Win XP Pro SP2 / Intel P4 3GHz / 2GB RAM / GeForce FX5200 / DeckLink Pro / Sony BVM-20G1E / DVS SDI Clipstation / 110GB boot/80GB media/600GB RAID-0

[Jimmy Brunger]

Hi Leo,

This isn’t the HD system…there’s no way it’d be fast enough for uncompressed HD! I’m hoping for an 8-core Xeon system with tonnes of RAM running XP64 for that. I’m just trying to speed up my uncompressed SD system at the mo, until we go fully HD..

I’ve heard from a few guys on the AE forum that 4GB should run fine. If the moboard has PCI Express, that eats up a bit of RAM, but there will still be enough left over to make my multiple apps workflow run better. I know BMD say 3GB is the limit for the Decklink, but I *think* that just means it won’t use any more than that, as oppossed to not running properly..

..IF someone from BMD would ever read this forum we might get an answer!!!

Leo – your sig didn’t show up – can you post your specs again? I’m intrigued how you’re running HD efficiently..is it HDV?

*Production Studio Premium / *Combustion 3
————————————-
Win XP Pro SP2 / Intel P4 3GHz / 2GB RAM / GeForce FX5200 / DeckLink Pro / Sony BVM-20G1E / DVS SDI Clipstation / 110GB boot/80GB media/600GB RAID-0

[Jimmy Brunger]

Not many people use tape driven CC suites nowadays though do they? Pablo, Lustre, Color, DaVinci, etc. are all non-linear data-based suites aren’t they?

*Production Studio Premium / *Combustion 3
————————————-
Win XP Pro SP2 / Intel P4 3GHz / 2GB RAM / GeForce FX5200 / DeckLink Pro / Sony BVM-20G1E / DVS SDI Clipstation / 110GB boot/80GB media/600GB RAID-0