[Tim Kolb]

Regardless of the source of the issue, problems that prevent us from making a living are serious and I have my share as well…

I agree with you on the QT Pro encoder points…I keep QT Pro on all my machines.

I’m happy you have a way to move forward. The nuances of the issue can be identified when there aren’t invoices on the line.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Main Concept has a plugin that enables PPro to handle the Convergent Design files.

35 Mbit XDcam files from EX cameras are MP4 wrappers…if they were wrapped as QT .movs, I wonder if FCP converted these?

PPro handles straight XDcam files without any conversion, so I wonder if you can get the files from the camera?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I believe what I understand your situation to be is that the corrupted project doesn’t open, but making a new project works just fine?

(I’m unclear on this as you note that PPro stops loading when it hits ExporterAVI.prm…which would indicate something in the application.)

If this is the case, I’d have to say that Dave’s procedure is probably most effective to track it down.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Well…I’ve got some issues with an FCP system chewing up some footage on its way to a DVD through QT export right now, so I guess I’ll just say that the perfect system still eludes me…

I would think you’d want to simply make a custom preset, choose ‘desktop’ and set your frame size and choose no compression. I’d be curious what the output looked like from that.

Does QT Pro handle the footage any better?

…I’m just curious about this.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Are you on a PC or a Mac?

Interesting how you note that Media Encoder handles these files just fine directly but the export from Premiere is a problem…therefore it’s Media Encoder’s fault?

Are you exporting to a BluRay preset? Keep in mind that BluRay 1080 has a 1440 px wide frame size` option. 1920 dropped to 1440 will cause some obvious horizontal aliasing on certain kinds of content.

I would use an uncompressed timeline for QT Animation files as opposed to a compression-based sequence setting. It would eliminate that from the mix.

For the record, After Effects taps the same ME mechanism to output converted files as PPro does…so i think I’d examine your sequence setting as the source of the issue before you throw it all in the campfire.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

The little shotgun that comes with the PDX10 is surprisingly good….

They make cold shoe mounts that can position a larger shotgun higher and out of frame depending on the camera.

Also…on a camera like the PDX10, you can cross over and record one mic input to both channels…allowing you to set the levels high and low to be able to hear the quieter parts, then switch channels for undistorted louder parts.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

The EX1 doesn’t record MXF files…they are wrapped as MP4.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’m not sure if XP 64 is certified for Adobe products at all, so I’d say to load the 191.78 driver for XP64 and see if that gives you trouble or not.

The card is now a couple revs back so no new testing has been done on it.

The only system I have with a 4500 in it is a 32 bit system so I’m guessing those drivers go back more than one or two versions.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Ben Perez] “I guess a question on many peoples mind would be, do you get a better looking picture with the AJA because it IS 10 bit, or do they look the same?”

It’s actually pretty subjective. The 10 bit image has more flexibility and will endure more color correction manipulation, so it’s technically better.

If you did nothing to the images and put them side-by-side on a VERY high end display…you may well notice it.

It’s a matter of perception and anyone who’s been at this a while will remember the comparisons between DV and BetacamSP and/or Type C…if the entire show you were watching was a doco that was competently shot on professional DV…unless someone inserted a DigiBeta shot in the middle of the program, nobody really found it distracting.

The bottom line is that the Nano/KiPro comparison isn’t really a very easy one as they each have some hit-it-out-of-the-park traits, but they’re strong in different areas (see my first post in the thread). My major point was- saying that one is the answer to every question and that the other is somehow inferior in a general sense is just simply not meaningful information.

As I said, I’ve used them both, I like them both, there are any number of applications where I could see one being a far better fit than the other…but that answer changes with the situation.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Pat McGowan] “Tim are you saying the Nano only records 8-bit?”

It’s a MPEG device that records 8 bit, yes. However, keep in mind that most all acquisition formats are 8 bit. AVC Intra and HDcamSR are the only two camera formats that are 10 bit.

There is nothing wrong with 8 bit…10 bit can be helpful for compositing work.

When it comes to general acquisition however, portability and filesize count as well.

TimK,
Director, Consultant
Kolb Productions,