Tim Kolb
Forum Replies Created
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[Jerry Hatfield] “By the time I’m through with this, I’ll owe you dinner at NAB next year.”
Yeah, well….keep in mind I am expressing opinion on most of these things. I would really like it if there were some other respondents in this thread, possibly with differing points of view just for objectivity purposes…
You’re certainly welcome to my opinion…and I’m always looking for a complimentary $9.00 hot dog at the LVCC…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Can you try setting up a regular, software DV project in Premiere? (Not the Pinnacle project settings…just the ones that come with Premiere.) and just create color bars or something and see if that comes through…then make a new Pinnacle project and do the same.
I’m wondering if the issue is focused on the Pinnacle incompatibility, or if perhaps the drivers for the new card have some overall incompatibility with the system…
Unfortunately, it probably IS time to let go of this setup…a new, mid-range computer without the Pinnacle card will run Premiere Pro basically as fast in DV mode…with software.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Blast1] “I was refering to spanning the desktop, the new premiere works better with floating objects like you describe and the timeline on one monitor.”
Ah…sorry, completely misinterpreted the post. You are of course, correct.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Bob Cole] “I don’t understand the problem. Why should it matter what the color temp was for the foreground as long as you white balanced?”
Different palettes…very different. Not to mention angles and intensities, etc, etc. I always light with 5600 for greenscreen shots that I know I’ll be keying over exteriors…otherwise it’s pretty obvious.
Like the local weatherman when they replace his maps with some outdoor footage…in theory it’s all white balanced, but the weatherperson still is obviously separated.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Jerry Hatfield] “HD-Connect firewire to HD-SDI in on the XENA
This would be a high quality route to go…you would either end up in a rather large file format, or you could use Prospect HD to do the capture through the HDSDI to CFHD.
HD-Connect analog to HD-SDI in on the XENA
The HD Connect LE only converts from FW…so you can convert FW>HDSDI/SDI or FW>component analog. The good thing about the HDC LE is that you can use an NLE with HDSDI I/O and RS422 deck control to control an HDV camera.
XENA LH analog input on card
This would certainly work as well…again, going to an uncompressed format or CFHD.
HDV camcorder direct to capture through firewire”
If you had a Ppro system with Prospect, this would probably be the simplest as PPro can easily capture to HDV native or CineForm Aspect or Prospect. HD Link can do some very cool things on ingest of HDV like change framerates and flip the image for those who are using the Red Rock Micro adapter. The downside to this method is that you need to capture the footage in large chunks…TC based deck control like the HD Connect LE (or PPro’s capture module) has isn’t part of HD Link (CineForm).
Best to worst? Tough one…they all have and lack different things…if you have a ton of space and don’t mind bring the big files in, the CineForm Prospect HD-HD Link method is probably the simplest. If frame accurate capture or re-capture is more the workflow you’re looking for, I’d say the HD Connect LE is a good investment. There is another Convergent Design box coming that does not have analog out but has the FW>HDSDI for a bit less money if that matters…
I’ve done some of all these…and it kind of comes down to convenience and whether or not you believe you see some “softening” of the harsh edges in digital footage by going through an analog stage…I’ve seen some footage where I like the results of coming through analog and I’ve seen some where I can’t see much of a difference.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Well…I’ve never had much of a problem with this situation BUT,
-I set up the PPro project with the screen size of the Camtasia capture with the compression set to “none”.
-After editing, I master out to some filetype that is framesize agnostic…like uncompressed.
-Then I take the master exported clip and use Windows Media Encoder (independent application-free download)to create the final distribution file at the framesize of the capture.
(I can’t seem to recall why I didn’t export back to Techsmith codec…it’s been a while since I’ve done it.)
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You don’t even need to “span it”…you simply undock the panels and place them in various monitor spaces (I’ve never liked the timeline stretched between monitors myself.) I use PPro, AE, Encore and Audition in this way.
I use three UI monitors…a 24″ flanked by two 17s…my 30″ is my video overlay monitor.
It works fine. In other apps like AE, Photoshop and Carrara, the 30” is added to the desktop…lots of space to stretch out.
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I’ve not tried this.
I suppose you’d have to attempt it and see. But clearly it violates the spirit of the license, even if it is not blocked.
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I’m using an AJA HDP for conversion, but I have a switch on the way so I can move back and forth as I’d like to maintian the capability to look at uncropped 2K and that would need to happen through the 4500 card…the CineForm/AJA output is center cropped for 2K.
Overall though, yes the 4500 is a very good card for UI and for Open GL acceleration. My After Effects work previews much faster and Magic Bullet for Editors is also accelerated.
I can’t recall what issue I may have mentioned with the drivers for the card… I know I was trying to get some things optimized as running a four head system with two Quadro cards (AND a Xena) still isn’t well-traveled ground. I got some help from PNY and am still experimenting with some things. I have no runnability issues with the 4500 at this point.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
The Io is SD only…Convergent Design’s SD Connect is a pretty tight approximation of the Io on the Windows side…(It works with Mac too…FW device)
As far as FCP and PPro is concerned…the more experience I have with both, the more alike they seem to me…
With CineForm/LH, you would see the overlay in the editing interface, but the full screen output can be sent to one place only. In the case of a Quadro 4500 that could take the overlay directly from the software, this would instead be sent out the XENA card. In my case, I convert the HDSDI out so I can still use the large panel for this.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net