[Ryan Brown]

Thanks for the response Nikolas. I still have ?’s if you or anyone has anything to add.

1. How do I load the decklink codecs into Premiere Pro V2.0?(i installed the codec i downloaded but i don’t see them available in the ppro v2 project settings).

2. Is it correct that even if I don’t have a decklink card I can still use there codecs to edit with in Premiere. One suggestion was to capture dv over firewire choose any dv preset capture settings in ppro v2.0, capture my clips, then start a new project with the decklink 10 bit uncompressed codec and import my dv 4:1:1 avi clips and edit in a 4:2:2 color space(i know my dv is the same quality) but my graphics,effects will look better because they won’t be compressed/decompressed yada yada and so on and so on..?

3. Once I have clips edited in the 10 bit uncompressed timeline I can either do my color correcting, effects, magic bullet, etc in premiere pro v2(in 4:2:2-uncompressed timeline) or export an avi(lossless) and import project into After Effects and finish there where I can utilize better cc tools, nucleus, etc. Magic Bullet and so on…(How bout I just use the new the Dynamic Link feature to take my timeline directly out of PPro v2 to AE and dsave myself the step of exporting an avi?)

4. One last thing!? Do any of the Decklink cards add acceleration for CC, Realtime effects, etc. in either Premiere Pro V2.0 or After Effects 7.0-or is there purpose intended mainly intended to bring in various formats like beta, digi, dvcpro out via decks sdi, etc.(unlike say the Matrox RT.X2?

Thanks,
DowntownBrown

[Ryan Brown]

appreciate the response but i’m really not using my mac at all…i know i should but i really like the production studio premium bundle and the integration…though i’m trying to get more out of my dvx100 footage when i am doing a lot of cc, titles, effects and so on. i was going to look at buying some kind of device like miranda or covergent design and then go in with your decklink card but they suggested this workflow cause there product was more intended for formats coming into your card that were generated on like beta. the suggestion was to capture via ieee, but it seems when doing all the stuff i mentioned it takes the footage in and has to do a lot of crunchin’ to it on render-so i was trying to figure a way to get around this. if i come in via there product i lose a gen loss. but when i edit in 10 bit uncompressed i will not effect my footage after applying and rendering it out like i would in a normal dv timeline…am i warm on any of this…i done a couple projects one a bonus dvd to an artist album(heavy magic bullet, titles , comps, etc.) and the other an 8 dvd training video series with bug throughout, titles, tons of stills i didn’t feel the quality was good enough or at least i hoped it would be a lot better…i can’t get around shooting with my dvx100 right now cause it’s paid for…so i need to maximize the footage as much as possible. do you have another suggestion. i’m really liking my dual core 64bit pc and the adobe suite-and both of these projects were done in premiere…

[Ryan Brown]

This article again found on cow by doing a search…says it all in plain english!!!

https://forums.creativecow.net/cgi-bin/new_page_wrapper.cgi?forumid=124&page=https://www.creativecow.net/articles/solorio_marco/capture_cards/index.html

Thanks cow and everyone here to help-you rock!

[Ryan Brown]

here is another user with the same idee…

https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=3&postid=758286&archive=T

[Ryan Brown]

i think this is what i meant.

i put “edit dv uncompressed and it brought me back to here…any cow user had the same idea…

here’s the link:
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=3&postid=758286&archive=T

[Ryan Brown]

i think this is what i meant to ask…just did a google search “edit dv uncompressed”

brought me back here…

https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=3&postid=758286&archive=T

[Ryan Brown]

Thanks Noah for the response. Well I started this quest to shoot a dvfilm a few years ago and because of some issues we all pulled out. I was mainly investing in gear and the cam I got in 03′ was the dvx…Now the options are a lot better and not much more $. Though I’ve dumped a lot of doe is legal software and NLE systems…all in all about 25k since say 2000…

Though I understand what you mean. I just moved back from Hollywood and one shoot I PA’d on a guy came in and shot with the 200 and I AC’d a mtv pilot and we shot with the larger Panasonic cam(sorry can’t remember the model) in 24p(not pa because of proprietary codec is what Cam Op told me) and in DVCPRO 50 I think. Budgets are much larger there than in PDX where I live. Up here whatever you get your hands on is good and other than commercails very few paying features or shows come into the area…If they do it’s typically one like say Bandit, The Hunted, or whatever and Union crews handle below the line or free PA’s come out of the Art Institute…and so on…too many fresh talent coming out of schools and no money to pay anyone…Canada killed our industry up here but I’m told things may turn around.

Again thanks for the advice.

Best,

~Ryanb.

[Ryan Brown]

Todd Beabout~

Hey thanks for the info. Yeah I used a lot of effects as well as the Magic Bullet plug-in…Dv is not real forgiving…I’m a photographer too and it reminds me of trying to color correct a still shot in the wrong WB and a stop off…not much you can do to put res back in…We are shooting RAW now and we do all our CC and then jpeg it. Our results are amazing and we retain the data on the front end and decide how we want to chunk it down on the back end. Possibly between my exposure in dv and how i’m mpeging it is more a factor than the 10 bit timeline a lot of users here are talking about. I have powerful machines and I think for dv is adequate.

Thanks again Todd!

~Ryanb.

[Ryan Brown]

Thanks Ed and everyone for the breakdown. I started with video production(92-96grad) on decks and A-B Roll(insert/assemble edits) in hs. So as far as DV and all the digital goes I’m not trained and just taking my previous knowledge and applying it to this new revolution(so teaching myself dv). So much to learn. I appreciate everyones advice and I’ll look into the creativecalf…

Thing is it’s real easy to just sit click on the presets and just cut but to really understand it is a whole different ballgame…but i’m accepting the challenge…looks like a lot of helpful and experienced users here-thanks for sharing!

~Ryanb.

[Ryan Brown]

Thanks Shane for the reply. Ok I think I’m on the same page with you bro. So when you shoot dv it’s already compressed onto the tape…but in order to work on the timeline isn’t it compressed for performance and then uncompressed when you say go out to tape…sorry bro if this is a dumn question. I remember watching the movie November bonus material and they mentioned a workflow I believe with FCP or possibly avid and they said something about retaining as much information as possible since they were going to a blow up…

At an earlier time I talked to Black Magic I think and they said I could use one of there capture cards to bring it in uncompressed like you said but the real benefit of the capture card was mainly higher formats since dv is brought over firewire and now computers are so fast that it was not much of an advantage to have a capture card…though when i first started i had a targa 2000 then i needed dv so i got a dv500. the hardware was supposed to take strain off the cpu…i have pretty fast computers now but i’m really just trying to retain as much info as possible. i am not as experienced in digital video as i am with photography but we just switched to shooting in RAW instead of jped so we can retain as much detail, edit wb after the fact and tweak then we just batch to jpeg and get amazing results. i thought a similar workflow for dv might be possible. forgive me for being new…

again thanks for your time.

ryanb.