[Nigel O’neill]

Thanks for posting your solution. It will help others in the same situation. Often times n00bs fail to explain where they went wrong out of embarrassment 🙂

[Nigel O’neill]

[Matt Carlson] ” If your terabyte drives are in a Raid setup”

The 2 x 1TB drives can only be set up as a mirror or stripe. The latter has great read and write performance, but no redundancy. Lose 1 drive, lose the lot. If they were set up as a mirror, you get great read performance, but lousy write performance. I would guess that Roger has neither, and uses 1 x TB for source files and the other for output.

I would use the SSD to store and read source files. As SSD’s do have a limited life span when it comes to read/write operations, this may help prolong its life. If Roger’s current drives and motherboard are SATA III enabled, he should be getting decent data transfer rates for video. Not good enough for audio as Matt has correctly pointed out, but okay for video.

[Nigel O’neill]

[Frank Stevn] “I need a second camera and I would like to get a cinematic depth of field in my productions.”

In addition to Steve’s advice, matching a full sensor DSLR with the Z7U will be a problem visually as well, especially if it is a multicam shoot. You will be cutting from an image with a great depth of field of the Z7U to the much shallower depth of field of the D600, made possible due to the full format sensor and the use of prime lenses.

Don’t get me wrong: the shallow depth of field adds a beautiful dimension to the shoot, but if your camera cuts are not consistent between cameras, your clients may object.

[Frank Stevn] ” I have not being able to match colors and white balance with the z7u.”

My experience is that you have to manually white balance the 2 cameras at the start of the shoot, and color grade your footage in the edit using a combination of color curves, color correction and brightness and contrast corrections.

SVP12 now has a capability called color match with matches colors on one image to another. If you are not on SVP12 yet, you can get fbmn software color match. I was a beta tester for it and can advise it does work.

If you are editing multicam using Ultimate S, I would download the trial version first. I discovered an issue caused by Sony changing its OFX implementation from SVP 10d onwards, causing unpredictable color results in the Master video track whenever fbmn software color match was applied. As I don’t use Vegas’ inbuilt multicam capabilities, I can’t comment if the issue occurs.

Given you can download fbmn color match for free to trial it, it’s a win-win situation. Frederic Baumann (the developer of color match) is quite reasonable and will grant you an extension to the trial if you ask nicely :-).

[Nigel O’neill]

My issue with Color Curves was occurring with event level FX. Given you are having issues at track level, try applying the filters at event level.

[Nigel O’neill]

Did you install a CODEC pack such as K-lite?

[Nigel O’neill]

[Dave Haynie] “Once you have three or four that remain in sync, and it’s NOT by design… well, if you’re that lucky, I hope you bought a PowerBall ticket last night :-)”

It must be luck then, as I have mixed and matched camera’s (FX1, NX5, Z1P, C110 and PJ760) and have not come across any audio sync issues. If they are drifting, it is by nanoseconds. One edit/job I did do recently which involved getting an audio feed from a sound desk did have slight sync issues which the sound engineer picked up, but no one else did.

In the days of analog I used to have terrible sync issues, but since going digital with HDV, natter.

[Nigel O’neill]

Has it stopped, or is the frame counter in the preview window still ticking over but very, very slowly? Does it always stop at the same point in the render? In both instances, there could be a source media corruption issue preventing Vegas from progressing.

Heavy FX being applied can slow things right down as well.

[Nigel O’neill]

Instead of trying to burn, does DVDA allow you to prepare the image file?

[Nigel O’neill]

I notice Vegas does take a while to load, typically 15-30 seconds if it is opening a project, but I have accepted that as a fact of life. It’s not a full audio proxy build. I presume it is just loading projects onto the timeline, which includes the audio proxies. I have started nesting projects, and whenever I change the subproject, when loading the master project it does take that extra bit of time longer to load.

[Nigel O’neill]

I can’t comment for Excalibur as I use Vasst Ultimate S, but I did report an issue where certain FX (in my case color curves) applied at the track level applied only to the first cam cut in the Master Video track that Ultimate S generated, and after that, was ignored.

When I checked the track FX copied to the Master Video track, the color curve FX was back to default. I had no other problems with other FX. In my case the generated video track did look darker as the FX had not been applied. Without knowing how FX in Excalibur are applied, can you check the FX chain?

I have noticed that Excalibur seems written for much earlier versions of Vegas, and I am aware that Sony has changed its OFX implementation as of SVP 11, which may break older plugins.

My system specs: Intel i7 970, 12GB RAM, ASUS P6T, Vegas Pro 11 (x32/x64), Windows 7 x64 Ultimate, Vegas Production Assistant 1.0, VASST Ultimate S Pro 4.1, Neat Video Pro 2.6