Rob Brambila
Forum Replies Created
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“thats really, really hard when the DVCPROHD codec only records and plays back 8bit.”
I think that there is a misunderstanding. To say that the device is capable of 10bit 4:2:2 is not saying that this means the DVCPROHD codec. The box is built around standard processing chips, which are perfectly capable of 10bit. The limitation comes in the bandwidth of firewire, and the only other available high quality HD codec that could stream through firewire right now is Prores. Motu has not ruled out support for other codecs in the future.
“how does one deliver or transport 32 tracks of audio when DVCPROHD only supports 8 at the format level and there are only 24 audio tracks available in the HDSDI transport stream. “
It supports up to 32 simultaneous channels of audio whether it is recording, streaming, or outputting. (not format or stream specific.)
We haven’t captured from a Panasonic although we did compare test footage shot on one. From what we saw the box held up nicely.
Thanks,
Rob Brambila
System Engineer
Promax Systems
rob.brambila@promax.com
http://www.promax.com -
Here is the breakdown….
We have been testing the V3HD for two weeks now and I have to say that the thing works just as they say it does. Right out of the box it was up and running in minutes, and has been for two weeks now. The windows support is coming with the native DVCPROHD support in Premiere, and a Prores workflow is being developed as we speak. The following was written in response to a thread about the V3HD on the FCPL.
I had the privilege of meeting with the Motu guys yesterday here at ProMax. We jumped on board with this product because we really liked the audio benefits it offers, and honestly think it and the IoHD will have their own niches. Yes there will be overlap, but there are distinct reasons to buy one or the other.
1) As far as the surround sound goes, you bet you can monitor all channels via analog if you like. They give you 8 of them. Again, that’s one of the reasons we have these things in stock. We think that is a big advantage for guys paying close attention to audio. It also has the ability to use 32 channels of simultaneous audio at 44.1khz -192khz, which is just killer. It also has a feature called audio delay compensation that allows you to tell the audio to slow down to match the video, because most converters could have some sort of delay once it hits a plasma let’s say. We need to test more, but in theory anything that uses core audio should work fine on this box. That’s the way all the other Motu audio gear works as well from what I’m told. It can also be used as a 32 channel standalone audio interface with no computer connected, and that is also killer for live events. Lastly, it has a nice array of syncing options as well, mainly the ability to resolve to word clock from a digital mixer. Again, for audio guys that’s pretty nice.
Ok, I know that’s long winded, but hopefully it helps. I’ll leave you with a short can and can’t do list.
Can do…
32 channels of simultaneous audio
192khz audio
Separate SD and HD outputs, not switchable. (We saw this thing outputting to at least 5-6 different SD/HD monitors at the same time, all in sync)
It is actually a 10 bit, 4:2:2: device
Great audio interface and features
Optical I/O for DAT devices and such
It is extremely flexible due to the widely accepted DVCPRO HD formatCan’t do…
Cross conversion
NTSC to PAL conversion
No ProRes capture (yet)
No Windows support for about a month, plus Windows traditionally isn’t the greatest DVCPRO vehicle anyway (although EDIUS handles it best I’ve seen)
It’s also not full raster (1920 x 1080) obviously like ProRes, so standard DVCPRO limitation thereIf there are more specific questions that you have please feel free to ask. (I would love to keep playing with this thing.)
Thanks,
Rob Brambila
System Engineer
Promax Systems
rob.brambila@promax.com
http://www.promax.com -
Try Reason, or Ableton Live.
Thanks,
Rob Brambila
System Engineer
Promax Systems
rob.brambila@promax.com
http://www.promax.com -
Omnis are a good choice as they don’t have a “proximity effect”
Placement depends on what you are looking to pick up. Usually even spaced halfway between the hammers and the soundboard. If there is a sound guy on hand for any P.A. for the event you may want to ask him if he has direct outputs from his console for the channels that are miking the piano. Then you can leave the audio from the other cam in the timeline for ambience. If not go with two spaced omnis bring them back for more room or close for less.Thanks,
Rob Brambila
System Engineer
Promax Systems
rob.brambila@promax.com
http://www.promax.com -
Here is your solution
https://www.dvdvideoconverter.com/convert/dvf.htmlRob Brambila
System Engineer
Promax Systems
rob.brambila@promax.com
http://www.promax.com -
Oh boy,
You may be seriously overcomplicating things. You want to monitor, right? Are you monitoring an encoded file? If not, then monitoring a
discrete 6 channel output IS the way to go. I work with lots of surround and we usually do a screening with discrete channels. If you need to use an encoded source do a render from compressor with dolby encoded and use the optical output of the Mac to your surround reciever. As far as sync goes I have never had issues. -
Are you planning to monitor from the Kona card? The solution to convert to analog from AES/EBU might cost you more than just purchasing a separate audio interface. You would also lack hardware control of speaker volume. I suggest the Presonus Firestudio with the optional MSR remote. This would give you analog outputs as well as hardware control over your speaker volume, including individual mute and solo. If you are set on converting from the Kona outputs, try the RME ADI192DD. Both will work, but plan on something like the SPL 2381 to control volume if you get the converter.
Rob Brambila
System Engineer
Promax Systems
http://www.promax.com -
I’d suggest Presonus Firebox. True plug and play with core audio,
and it sounds better than the Focusrite or Tascam.