[Sean Mcpartlin]

[Sean McPartlin] “So the Nanoflash gizmo from convergent design will let you pick your codec and I thin M2t is one of em. (you can change the bitrate and it seems lots of folks like 50mbs). Anyone know how that nano flash is for Vegas ?”
M2T would be my format of choice. This edits the easiest. As for the bit-rate, if your camera is sending 25Mbps HDV out the firewire port, it makes no sense capturing it as 50Mbps. It’s not going to look any better because it’s already 25Mbps of information.

Ok so I am not sure about HDV but I would be using the hdmi out cable (use a hdmi to hd SDI converter and I need that to connect the cameras to the Sony any cast switch anyway)

The claim as I understand it is the video from the camera is native uncompressed video and that’s why you can record whatever bitrate you want because the data is there. (obviously playback it’s not)

We are looking to use older cameras hooked up to recorders.

The codec we use to record is what matters.

[Sean Mcpartlin]

As I wait for Netflix to start working again….

So am I to understand Vegas (latest version) would need transcode prores to edit?
Ok if that’s true then prores is out…

I am just looking for the most cost effective way to record video for Vegas (4 users) and 1 FCP user.

The tiny Sonys we have shoot avchd that Vegas has no issue with… But FCP struggles a little.

The Sony. Hdv dr60 hard drive shoot HDV m2t but the drive is too small. Has anyone taken the thing apart and put a bigger disk in it? ( I am willing to try)

So the Nanoflash gizmo from convergent design will let you pick your codec and I thin M2t is one of em. (you can change the bitrate and it seems lots of folks like 50mbs). Anyone know how that nano flash is for Vegas ?

[Sean Mcpartlin]

What do you folks think about Convergent Design’s Nanoflash?
This sounds like something that might work for us.

The New Gemini looks really cool but not sure it fits into our budget.

I need to read more about timecode and genlock… I think it sounds like there is some sort of box that makes each and maybe one that does both. But I wonder if timecode would be enough for our needs.

[Sean Mcpartlin]

Bob I can see your point. I have been reading a lot of your posts on here over the years and trust me this wasnt really that rude.

It would be hard to explain away the actions of my employer other than say all of it’s employees wear many hats. Here, plenty of folks are not experts in much of what they have to try and complete. Video would not be the first area IT has had to step into and figure out how the pros do things.

I could tell you we would just not do it vs hiring pros. I could tell you we would not have that much work to keep em’ busy. I could tell you I have seen what happens when they want to contract out pros for an event. They were too cheap and got back crap.

I can tell you that eventually we will hire pros to do the work. But to get there the need will have to be created. In the mean time we need the tools these pros would use. We need to find out the basics of what they know and fake it for the time being.

Our IT department has in the past had to figure out, security systems, mail room functions, prepress and print shop production, inventory management, electrical and environment management, whouse management, shipping systems, and countless other areas that trust me fall outside of IT. That is just the fact of working here.

Your right and and see how you would get mad. However this doesn’t change the facts of our situition. We are trying to help another department meet a goal. Create some content to help sell some product. As we sell more product we can then hire more people to do the work. If video production became more than they can do they will be forced to pay the righ people to do the work. That’s what I want to work to. So I’m online asking the pros how to get us there.

I’m going to climb on a soapbox for a second while I am here. I feel as an outsider that the video device manufactures are pulling a con job. Just why are cameras that can do timecode and genlock so stupid expensive?
I am sure these are great devices. But cheap cameras should be able to record in sync with each other soma marketing person can drop 3 tracks down onto a computer and cut up the footage in 60 mins to get a rough draft of video. But no you have to spend stupid amounts of money for the simple convenience of three files that line up with each other on the editing workstation.

Yes i said it, in our company it’s marketing people that are editing video. They all learned how somewhere or on the job. The difference I see is that real pro cameras had video that looked better than anything a hobbyist would have. Today I cannot say that. The real pro cameras look really good but the cheap hobby (pro-sumer) cameras look good enough for that throw away DVD at the trade show or web video. I know the color accuracy on the real stuff is better but nobody in sales or marketing care about that. I also think our audience does not care either.

My laptop died so it’s hard to write all this on an IPhone. So I’ll come back a little later. In the meantime I’ll get back on track.

If you like Vegas what file format should one record in? I have read a few posts that prores should be avoided.

All I want is to take 3 cameras (prosumer) and run them into the anycast station. Then output a live feed. Then I want to record the output feed and the 3 input feeds with some sort of device(s) that would allow me to drop 4 files into Vegas and FCP where they line up in sync with each other sown someone can do some very basic editing.

We do not want to spend the money on the cameras. So is there a recorder that will genlock/timecode(timelock?) four feeds together? All we are trying to avoid is having to line up camera 1 to camera 2’s start and stoP On the computer. It is tedious and annoying. Add three more cameras and it gets more annoying in the editing booth.

Our logic is if you didn’t record it, it didn’t happen. So if none of the three cameras saw it we don’t worry about it.
We just need help giving the marketing people an easy way to edit it. All that means is changing the output video to show footage from a different camera at a point in time then was done on they anycat during the presentation.

Can you offer us some help to do that?

[Sean Mcpartlin]

Ok that’s good info. I guess ProRes isn’t for us….

But is there a device to record the video in HDV and supports GENLOCK?

[Sean Mcpartlin]

I don’t think so… Got a link to it?

I did get it to capture from whatever I’m running with FMLE 3.1 but it crashes with an unknown error after a short period of time..

But I do see video in the preview now and 3.0 didn’t do that…

[Sean Mcpartlin]

So with the new update for FMLE 3.1 released in May 2010 you can now capture from 1920×1080 with the Black Magic Intensity Card.

That’s a good thing. But I am getting FMLE 3.1 crashing in x64 windows 7 when I try and encode from source….

Maybe it’s my settings… I actually want to stream 1920 x 1080 with Flash

Anyone else get that to work… please share the magic…

I have loads of bandwidth…