[Tim Kolb]

The first thing I’d have you do is click on the playback settings in the program monitor window (the gadget you’d use to change the monitor to a waveform, etc) and go into the playback settings and see if you have an external device chosen in there…

Otherwise, we need a bit more information…

What format are you using?

It captures through FW?

What sort of a timeline (sequence settings) are you editing on?

Describe your steps for exporting to tape.

Describe in detail what happens in what order when you export.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Is it possible that the CineForm version is not as new as the AJA drivers? I know there are a number of things that changed as CS5 surfaced on both sides of the issue….AJA and CineForm.

Does CineForm have any thoughts on it?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I hear what you’re saying. The acceleration of the technology has somewhat negated the tremendously reduced prices…a $50,000.00 Betacam used to last for 6-8 years.

Now, with an Adobe upgrade every 18 months, you’re spending money a bit more often, but each program in Prod Premium upgrades for 50-80 bucks.

this last round going 64 bit was a jump, but frankly I don’t think PPro CS3 or CS4 would have had the reputation for stability problems that they ended up with had adobe went 64 bit only with those. They lost some reputation for maintaining that backward compatibility.

…another stark difference between Adobe and Apple. 🙂

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

720p is only progressive in the television standard. The standard framerate is doubled…the field rate of 1080i. So the frame rate for standard television 720p is 59.94.

This gives it the silky “NHK” TV motion smoothness of 1080i, but with all progressive frames.

Tapeless camcorders can do whatever they want of course as they are writing files instead of recording to some television-standard tape format.

I don’t know why one worldwide framerate couldn’t have been decided on for DTV as well as progressive, but I know that at least Americans are always worried about backward-compatibility…it’s how we got 29.97 in the first place.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

What’s your system configuration?

Replacing every clip may end up being fairly cumbersome depending on the project and your system…

Clip naming is a bit of a test. I’ve been meaning to test something one of these days, and haven’t yet in CS5…

dynamic link the clip out to make a new AE comp…then rename the comp in AE

This will likely break the link in Ppro, but I wonder if you can relink to the renamed comp?

…like I said, I’ve never tried it. I remain curious…this week I have some noodling around to do.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Rex Summerfield] “I was hoping that when Canon said it was “already compatible with most NLE’s” they were using a known Codec we could drop right in.”

Well…keep in mind that CS5 is the current version of PPro, and you can drop it right in. As all these things develop faster and faster, keeping all the aspects of your workflow up-to-date in the moment will become more and more important.

Production Premium costs less than AE alone did when I used to buy it on 5 or 6 floppy disks and it didn’t even have a “comp” timeline…

…it’s hard to say that all this progress hasn’t benefited the user in some pretty significant ways.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Since the camera wasn’t in existence when CS4 came out…I’d say ‘doubtful.’

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Was it a compressed sequence, or uncompressed?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Are you getting one or two files after exporting?

Transport streams have the audio and video “muxed” or multiplexed. Unnecessarily technical for “everything in one bucket.”

So the audio would have to be set for MPEG2 and it would be set to multiplex.

That’s a beefy file for a TV station. Kudos to them. The biggest MPEG stream I’ve output for a spot going to a playout server was 30 Mb/s.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

That video format is simply kind of a pain.

It might work in the DSLR sequence setting in CS5….my GoPros work well in there, but for CS4, I’d probably try to convert the stuff with MPEG Streamclip to something more predictable.

TimK,
Director, Consultant
Kolb Productions,