[Rhewitt]

The output of the black generator needs to go to the Ref I/P on the VTR.

The only real benefit of having a sync source is if you use RS422 to control the deck. Under RS422 the time code of the VTR is fed to the NLE.

Once correctly sync’d you can insert edit on the VTR under control of the NLE app.

[Rhewitt]

Err, no. Once you go to the analogue realm, you will lose machine control and time code. All these require direct firewire connection to your VTR or camera.

[Rhewitt]

Another thought…

Have you tried recording in DV mode on the camera and trying to capture that in PPro?

[Rhewitt]

Yep, just a fairy tale as is much of the ‘scientific’ methods used in identifying evidence.

There is software around that can enhance poor images – we often used image processing for police video and stills within the TV news environment.

But hey, this is dreamland TV where the bad guy’s always caught.

[Rhewitt]

Okay,

Have you tried setting the capture device to a generic device (Plain old JVC) or even try a basic Sony camera in the device selection. This is common practice in some of the Avid applications when you cannot get control OR an input signal from the camera.

Or, have you tried setting the camera to play and then starting the capture?

More thoughts on the way shortly.

Richard.

[Rhewitt]

Avid have moved on since than and now use the MXF format. It is the default for all new installations.

I guess Premier Pro will be playing catch-up again! 😉

MXF support in PPro would be a very welcome addition.

Automatic Duck was the best option but they seem to have rather abandoned PPro concentrating instead on AE. Sadly missed.

WAV files is an option but messy and time consuming.

[Rhewitt]

Malcolm,

Something that may be of great help is Trapcode Soundkeys. If you haven’t already used it, it’s a plugin that will create keyframes automatically for you by looking at the spectrum of the audio file and looking for beats or particular instruments. Works a treat and there’s a demon version available.

Trapcode Soundkeys.

Richard.

[Rhewitt]

Only the following NVidia cards are qualified by Avid:

NVIDIA QuadroFX 3500 PCI Express
NVIDIA QuadroFX 3450 PCI Express
NVIDIA QuadroFX 3400 PCI Express
NVIDIA QuadroFX 1500 PCI Express
NVIDIA QuadroFX 1400 PCI Express
NVIDIA QuadroFX 1300 PCI Express
NVIDIA QuadroFX 560 PCI Express
NVIDIA QuadroFX 550 PCI Express
NVIDIA QuadroFX 3000 AGP 8X
NVIDIA QuadroFX 1100 AGP 8X
NVIDIA QuadroFX 500 AGP 8X

Each card moving up the range has the ability to handle more complex on-screen FX and renders. The 560 is pretty much bottom of the current range. I would suggest something more like the 1300-1500 range if you want to work with HD media.

As for the sound card, most people have success with the Audigy 2 version. Avid qualified sound cards are required because the editing application needs to take control of the card to ensure the sound keeps in sync – most sound cards don’t allow this and is the primary reason for audio related problems.

[Rhewitt]

I had problems with the onboard (motherboard) firewire port but ended up using the firewire port on the Sound Blaster card. I put the capture tool into record and pressed play on the camera – sorted!

Fortunately Windows completely ignored the port on the Sound Blaster card.

But then I moved onto Avid Media Composer after hitting too many limitations with Premier Pro.

Have you checked the supported firewire cards on the Adobe website?

[Rhewitt]

Firstly, you need to check the specs supported for the application. Only these are guaranteed to work but does not mean other setups will not work.

There’s no truth in the belief that Avid don’t like AMD. It all goes down to the way the processor operates and if it works with the application. The AMD Opteron processor is on the supported workstation list.

Avid Specs for XPress are here.