[Michael Kammes]

Both devices allow you to connect various SD & HD decks and sources to your machine and not only capture, but also playout to them. Other I/O interfaces don’t have as many spigots to plug into. In addition, the Adrenaline and Nitris DX allow for simultaneous HD and SD outputs.

In the case of the Nitris DX, you also get Dual link 4:4:4 ability and hardware acceleration for DNxHD playback, and now AVC-I acceleration with an extra insertable ship.

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

Maybe I should watermark my images, eh?

I’m willing to bet the bars are because you are encoding at 720 x 480, which is NTSC DV, but NOT full frame NTSC SD video which is 720 x 486. 3 lines of resolution on each side will give you the bars.

You may want to try using an more full bodied & rich flavored Avid codec. Avid 1:1x will be best, but is a much larger file than your DV50 file, by about 3-4x…and probably overkill for a DVD rip. Meredien Compressed (2:1 or 3:1) will work as well. There is also an Avid MPEG2 50Mbit codec which would also work. You’ve got some options.

When you start a project, select 30i NTSC, color space should be YCbCr 601, and raster should default top 720 x 486.

Good Luck!

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

What kind of drive are you exporting too? Is it FAT formatted? The resulting file size from your export may exceed the limitations of the FAT file system. So, either reformat the Hard Drive (this will erase everything), or, export to a different drive that is NTFS (Windows) formatted.

Make sure you have enough free space on your CPU…AND empty the trash to make sure!

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

Here is my guide for it, works great:

https://michaelkammes.com/encoding/avid-is-self-aware-fast-import/

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

That was my blog, I hope it helped. I’ve used it for many a project over the past 10 years!

I’d determine if you are going to have 1 ProTools session for the entire film OR is it going to be broken up into reels. Export OMFs according to that, and do it in 2 or 4 tracks at a time to stay under the 2GB file size limit.

As I mentioned in the blog, so a QT export with a TC window burn that matches the sequence TC so the OMF matches with the window burn. If they don’t, spotting is going to be almost impossible.

By doing both QT and OMF exports at the same time, the TC will match up, regardless of if your PT sequence is for the entire piece or reels.

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

This may be right up your alley…

https://michaelkammes.com/audio/prepping-and-exporting-for-post-audio-in-final-cut-pro/

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

Hey Jaime….

Hold off….contact me directly if ya can…?

michael AT michaelkammes DOT com.

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

Old thread, but it came up again in Google…

Jaime, I have to thank you for the MXF trick. I posted about it awhile ago: https://michaelkammes.com/avid/play-avid-mxf-for-free/ .

Bob is a great guy, isn’t he?

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

Is this after you tried what I suggested?

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .

[Michael Kammes]

Ensure the digitizer is set to the DV codec, at the proper frame rate (I’m assuming 29.97) and that it is looking for the Canopus box as a capture device.

To make this easier, you may want to close all projects, then use an easy setup, THEN create a new project.

~Michael

.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammes

Hear me pontificate: Speaking Schedule .