Michael Hancock
Forum Replies Created
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You know, I’m not really sure what else to suggest. I had a smiliar problem capturing MiniDV footage. Sometimes everything would come in perfectly, then I’d capture the next clip and when I played it back the audio would be warbled. Or I’d hit Capture and as the tape played the audio would be messed up.
Unfortunately, I never did figure out what caused it. If I hit the warbly audio problem I’d shut the machine down, start it back up, and capture another tape. The next day I’d come back to the bad tape and it would capture fine. Seemed very random, and this was on a brand new system, full Avid spec, with all the OS tweaks. Frustrating, isn’t it?
I hope you figure it out or it clears itself up, and please let us know if you find a solution.
Sorry I wasn’t more help.
Michael.
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If you absolutely must play a DVCProHD quicktime on a PC, buy Raylight Decoder.
https://www.dvfilm.com/raylight/decoder/index.htm
Download the demo to see if it solves your problem. If so, at $95 it’s not too bad on the pocketbook. Especially if you can bill it to the client.
Michael.
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The DVCPro codec is only installed when you install FCP. Tell them to export it to a more universal format. If you’re importing it into Avid they could download the Avid codecs and export it to the DV100 Avid codec. It’s Avid’s version of DVCProHD and will import into your system without a problem.
Michael.
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You say it’s a fresh install of Windows XP. What version of Quicktime are you running? Also, did you optimize XP? Turn off simple file sharing, check the driver for your graphics card, turn off screen saver, set the power mode to always on, etc…?
A fresh install is great, but sometimes the little things you did with your last install get missed when you reinstall.
Also, what kind of drive is the internal 500GB? Is it a SATA drive, IDE, 5,400RPM, 7,200RPM? This might make a difference.
Michael.
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[aaron kochman] ” have tried many different settings for saving and it is always the same if not worse.”
What resolution are you saving it to? If it’s DV25, it will look bad. Save it 1:1 if possible.
[aaron kochman] “it turns blurry and looks bad from the source monitor to the timeline. When the timeline is in play, it clears up a little bit but is not like it should be.”
When it’s in the source or record monitor and it’s not playing you’re only seeing 1 field, so you’re only getting half the picture, hence the nasty look. When it plays you see both fields, which is why it improves.
Is your timeline set to Green/Green mode? It’s the button at the bottom of your timeline, to the right of the fast menu and segment mode arrows. Green/Green is full resolution. If it’s Green/Yellow or Yellow/Yellow you’re viewing downrezzed versions of your footage and graphics.
If you’re in Green/Green and it still looks bad, how are you monitoring it? Are you looking at it on your computer monitor, or on a broadcast monitor? Don’t trust the computer monitor–you should be looking at a broadcast monitor.
Otherwise, I’d do what Grinner suggests and use After Effects if you have it. If you don’t, beg/borrow/steal to get it and learn it. It’s an amazing program and is a very useful addition to an editor’s toolkit.
Michael.
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Same with the newest Avid systems. You may need to unlink the clips first, then right click, Modify, change tape ID, then relink the files.
Michael.
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I can say with confidence that the Meridien I/O boxes will not work with any modern Xpress Pro or Media Composer or Symphony software. The newest versions are designed to work on Mojo, Mojo SDI, Adrenaline, or Nitris boxes, and next the DX boxes.
A cheap way to monitor video out of Avid. The cheapest is to plug an inexpensive firewire camera to your computer, set the camera to VTR (make sure it can pass the signal through), then line the composite (or S-Video if available) from the camera to your monitor. Don’t expect the video and audio to be in sync, though, and I wouldn’t use it for color correction. But it will get your video to the monitor.
The best way is to scout ebay or craigslist for a used Mojo. You should see quite a few turning up in the next few months as the new Avid hardware is released and people look to unload their older equipment. I got lucky and found the Xpress Pro software with Mojo for $1,200 total, which was less than just the Mojo. Keep your eyes peeled and you can probably find a great deal.
Michael
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[Ron Lindeboom] “That is why I am wondering why in blazes you are so persistent in arguing against FC and for Avid, here in a forum that is the FC forum???”
That honestly is not my intent, and I’m sorry that my post came across that way. I know the Final Cut Studio is an incredible bundle of software, and the value is incredible. I apologize if it seems I was arguing against it, because I’m not.
[Ron Lindeboom] “Use what you like but why be so insistent in trying to crap on the tool of choice of others? It makes no sense to me.”
Again, that’s not my intent and I didn’t think I was. If you read what I wrote I say very clearly that FCP trumps Media Composer because the programs you get in FCS are better than what you get with Avid, and that the integration is better.
Somebody posted that they wanted hardware acceleration, and Walter compared the Avid hardware to the FCP software. I didn’t think it was a fair comparison because it was software versus hardware. So I pointed out the software versus softare comparison, and stated that FCS wins big time. To me, that’s an endorsement for FCS!
[Ron Lindeboom] “But day after day crapping on people’s poison of choice makes no sense to me and makes me wonder why a PC guy who loves Avid would waste so much time in a Mac forum that is discussing FCS???”
Honestly Ron, I didn’t realize I was doing that day after day. I spend a lot of time reading a lot of forums, and I read this one because one day I’ll have to use FCS I’m sure. I’m trying to keep abreast of what’s going on with the software. I read the Red forums and DVX forums too, just so I can learn about what’s new, etc…
I’ve pointed multiple people to this very forum if they have problems with FCP. The last time someone asked me what editing system they should buy, I told them to buy a Mac and FCP because it was best suited for their needs.
You’re right, I do like PCs and I do like Avid, but I never intended to crap on FCS. It’s software and hardware…I try not to get religious about it, but maybe I do sometimes. Again, I apologize if I came across that way because it wasn’t my intent. I’ll sign off now and stay out of the rest of the thread.
Michael.
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Don’t get me wrong Walter, I’m agreeing with you. If you want more realtime performance you choose a system that offers it, typically via hardware acceleration. I just wanted to point out that FCS is $1,200 for the software, Symphony isn’t available as software only so the price included CPU and Hardware.
A better comparison between apps would be Media Composer Software for $2,500 versus FCS for $1,200. But even then FCS still trumps Avid because, as you said, it’s a full suite of software and not just a cutting program. Media Composer comes with Sorenson and AvidDVD (which burns BluRay), but those two programs aren’t as well integrated or advanced as Compressor and DVDSP. If you just need a fast NLE, though, it’s hard to beat Avid, even for the price. Again, it’s what’s works best for your business, as you said.
I chose Avid because my scenario is different than yours. I have two systems, one with Avid and the Adobe Apps for cutting, graphics, compositing, another for DVD creation, compression, etc… I work at an all PC shop, and our production staff consists of me and freelancers we hire as needed. We do promotional items, and we’re growing the production side as much as possible.
Because I’m the only full-time production guy and I can only operate one machine at a time, I pushed for the Avid because I know it inside and out, and it’s realtime performance meets my needs. Less rendering means I can move on to another client faster. If I was in your position with multiple editors, I’d prefer a mix of Avid and FCP.
Michael.
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[walter biscardi] “You mean you want a $1,200 Final Cut Studio to provide the exact same features as the Nitris DX which from what I can find, is priced at $36,000.”
To be perfectly clear, you’re not comparing apples to apples. FCS for $1,200 is the software only. Add the cost of an 8-core Mac and hardware card that converts to ProRes on capture and the cost grows very, very quickly for Final Cut.
The Symphony Nitris DX price you quoted is turnkey–it includes either an 8-core Mac (Symphony is back on the Mac) or 8-core HP 8600 CPU, the Symphony software, and the Nitris DX box. Avid is certainly more expensive, but not with the difference of 1,200 to 36,000.
It’s really an opinion of Value, not Price. I prefer Avid’s cutting interface and toolset to FCP, so I willing pay more for it. Over the life of the product, the costs are about equal in my opinion. You have to use the tools you like that will get the job done on time, on budget.
Michael.