[Tim Kolb]

OK…

First, what are your Machina settings for input?

Second…the HDSDI spigots on the back of the Xena card are not labeled… Is there a chance you have an input/output mismatch on the back of the board?

…I deal with AJA boards frequently and I still occasionally get my cabling switched in the back.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I guess in view of your ideal traits, I’d recommend you at least take a look at the Sony EX-1.

I’ve been pleasantly surprised by the capabilities of this little camera, and it sells street priced in your range.

(I’ve used the HVX200 and liked it…then I saw the images on the EX-1 after some colleagues highly recommended it) and there was no question that it was time to move in that direction.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Have you tried checking if you have an analog output from the HD Connect?

Also…what format are you using? 1080i? 720p?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

What sort of output do you need from Encore?

for most workflows, just importing the Premiere Pro sequence to Encore gets you to authoring and doesn’t encode until the authoring is complete. I’ve done this with HD timelines for an SD project in Encore…seems to work fine.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I believe the 500 is a 960×540 sensor, though it’s a larger physical sensor than the HVX200…

Light sensitivity would obviously be one benefit of this arrangement.

It’s one of the key reasons why the 500 is at the pricepoint that it is…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’ve been editing this week on a project where I’m doing this almost constantly… Once you’ve opened a new title and named it, it’s saved. No further ‘saving’ should be necessary.

Any opening and editing of the title should simply update it.

The machine I’m working on this week is PPro v4.1.0…

The title exists as a component of the project these days…there is no “source file” similar to a PSD or video file. The titles should just update in the project file like any timeline changes and trims, etc. that you do…

Not having the title save changes immediately is some sort of bug or software conflict…I’ve never had to do this with CS3 or CS4.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I just did something similar…

You’d start with a black clip on V1.

Then, I’d make a new sequence and edit together all your outtakes the way you want them. You can then go to your project window and find your outtakes sequence and drag it onto V2 in your credits sequence (this is referred to as “nesting” a sequence inside another one.) You then have to decide how to split screen real estate.

I usually scale down the video clip and slide it to one side or the other, then I run credits on the other side.

There are lots of references on making a credit roll around. Keep in mind that once you know how long the outtakes are, you can optimize how the roll happens by adding returns and getting the speed to be what you’d like…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

What version of PPro are you using?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’ve judged Tellys.

They assemble a pretty extensive crew of Silver (the highest form) Telly winners in each genre, then they have us score each entry.

I’ve also judged Emmys…where we assemble a panel of industry veterans…and score each entry.

In the end these statues are really for the clients anyway, right? I stopped buying the Telly statuettes for a time…but now clients ask about the gap. (bit of a dry spell eh?)

I have a Hugo as well…a bit harder to get than the Emmys I think. Across 49 categories they handed out exactly seven statues that year. A pretty tough crowd there at the Chicago film Festival…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Are you exporting a 4:3 movie that is letterboxing (black on the top and bottom with the 16:9 video in between)?

Depending on what version you’re using Adobe’s encoder doesn’t employ any sort of crop in those circumstances and you’re better off exporting some sort of 16:9 master clip…then converting it to a letterbox 4:3 clip.

TimK,
Director, Consultant
Kolb Productions,