[Tim Kolb]

If you are referring to an Intel dual core, yes you can do ingest. We had an 840 processor on the Adobe tour running Prospect doing a direct HDSDI capture from a Canon H1 (but not capturing HDV…capturing 1920×1080 full res HD), and the 955 Extremes just scream in the very preliminary testing done to-date.

My Prospect system is a dual single core AMD and it sounds as if a single 955 Extreme might even be a slight step up. Once the dual-dual cores from both Intel and AMD are really out there in some numbers, I think we’ll all get spoiled in a hurry.

TimK,

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[Tim Kolb]

I’m not sure I understand. Do you want to edit it as uncompressed or something of that nature? You’d have to bring it in from a DV deck with SDI on it, or use a converter like the Convergent Design SD Connect box to change the DV into SDI, or if the Xena card you have has analog, you could also bring it in that way.

Otherwise, you could ingest using plain old FW I suppose and simply put it on the timeline with the uncompressed (or whatever) settings and render it if there wasn’t a huge amount of footage…

Is this what you’re looking for?

TimK,

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[Tim Kolb]

I usually use a matte that is full black and full white and use “luma” as the matte type.

The track matte keyer should be applied to the source on V2 and in the settings, the keyer should matte from V3, alpha or luma, but I believe that it treats white and alpha transparent as the same, so maybe try black and white…or in Photoshop try to cut an alpha hole in a solid black background.

I don’t know…otherwise this sounds correct to me. There aren’t any other effects going on in these clips?

TimK,

Kolb Productions,
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[Tim Kolb]

My sense of using SmartSound has been that even if there aren’t a larger number of tracks available than a normal music library, a MUCH higher percentage of the tracks are truly useful.

I remember back in the late 80s when Soper Sound had a variety…one saxophone or two…

TimK,

Kolb Productions,
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http://www.classondemand.net

[Tim Kolb]

I suspect that if you check your project settings, the conformed audio is targeted to those drives that need to be hooked up to work. When they are offline, PPro isn’t making replacement files because the project says they need to be on this (or these) drive(s) that aren’t there.

If you search the drives in question, I’ll bet you will find conformed audio files for these projects.

Try setting your projects so that conformed audio goes to the same folder as your projects…life will get easier I suspect.

TimK,

Kolb Productions,
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[Tim Kolb]

What sort of work do you do?

There are a number of cards available at a variety of price ranges.

I’ll be examining a Quadro 4500 here very shortly, but that’s a 512MB card with 2 dual link DVI-I ports for driving displays at 2500×1600 and it runs around 1800.00 USD street price. I’ll either be using this card or a 3450 for my HD system as I need to drive a 30″ Dell Monitor at 2K resolution.

The 7800 that Aanarav mentions runs about 350.00 USD, and it’s a 512MB card with dual DVI-I as well (one port I think?). The difference here is that the 4500 probably supports Open GL applications like AE and a variety of 3d programs extremely well and the 7800 is targeted for games, though the Open GL support should be helpful for other apps. How versatile that support is on the consumer card is the question and I don’t know the answer.

TimK,

Kolb Productions,
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[Tim Kolb]

I tend toward the PNY nVidias for “big iron” GFX cards.

More RAM is always better until I hear otherwise…

The Matrox Parhelia is excellent for video editing, but I thought someone may have posted here that it’s not compatible with the RTX 100…but I could be wrong.

TimK,

Kolb Productions,
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[Tim Kolb]

…and obviously if you have someone spraying water from a hose on a lit set, have someone with experience do the spraying…it’s kind of an art in itself.

Ideally they need to start spraying down and close to something so that first “blast” isn’t wide enough to hit lighting instruments or other electrical devices, then pull away, carefully watching the outer limits of the pattern and anything wind might be doing to move it if you’re outdoors…then ending the spray by reversing the action.

If they have to wear waterproof jackets that need to look wet…spray them before the talent has to put them on…if they need wet clothes, it’s not a bad idea to do the same if they have supposedly been in the rain for long. Their clothes will either not get wet in weird places or they will dry in between takes, so a Polaroid or digital camera isn’t a bad idea for continuity preservation either.

Also…if the feet of the talent aren’t shown, standing them on a grate or something that keeps their feet from being “in” the water is always a nice touch.

TimK,

Kolb Productions,
Creative Cow Host,
Author/Trainer
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http://www.classondemand.net

[Tim Kolb]

[David Newman] “AJA, please remember us. HDV and HD compressed clips can be used with Prospect HD and the AJA Xena HD card (under PPro 1.5 or 2.0.) See https://www.cineform.com/products/ProspectHD.htm for details.”

True, true. Prospect will give you the best of both worlds…FW ingest of HDV and RT editing of Full Res HD for output via HDSDI…with a Xena HD….and I’d be surprised if it stayed restricted to only the “HD” model card for long…

TimK,

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[Tim Kolb]

I think that capturing into a 16:9 project would work (1.2)…but I’ve never tried it with footage that “thinks” it’s 4:3…

Otherwise, just capture all of it as 4:3 and import that project into one with 16:9 project settings.

By right clicking on the clip and selecting “interpret footage” and changing .9 to 1.2(which I assume is how you did it in your test), the whole thing will be back to 16:9.

This would be easier than scaling as all the scaling has to render. Straight interpreted 16:9 DV footage in a 16:9 project will be realtime until you add some effects…

TimK,

Kolb Productions,
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http://www.focalpress.com
http://www.classondemand.net