[Uli Plank]

Why not? I use my MBP with an e-SATA card and a small two drive array and it plays ProRes in 1280×720 just fine.
When I connect a Matrox MXO I can even record via HD-SDI to a professional machine.

Something else must be wrong with your setup.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

No problem

[Uli Plank]

DVCProHD is only 100 mbps, ProRes has more.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Well, the Panasonic S-52 doesn’t work just like the Denon. I’m afraid HDCP is never switched off in these players, even if an unprotected disk is loaded.

You’ll need to go for a software solution like MPEG Streamclip.

My Blackmagic Infinity works fine with the output from a Canon HV20.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Well, I tested our Denon 1930 with an unprotected disk, and it doesn’t work

[Uli Plank]

I double checked and it’ll run only on MacPro, sorry.

My concern about HDMI from DVD was not about the DVD being protected, but about players refusing transfer over HDMI even without really having a copy protection on the disk.

I’ll give our Denon a try today.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Old G5 or new G5 (i.e. which card connector)? Only newer models can take the Infinity cards by Blackmagic. But even then, I’m not sure it’ll work: the copy protection will probably kick in.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I works fine for me. While ours is a European model, I can’t see a reason why it shouldn’t work for you.

Apart from that, you can get awesome quality by capturing live from the HDMI connector with Blackmagic’s Infinity card from that camera.

Regards,

Uli

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Hi Gary,

I tried to go the same route to avoid the hazzle of setting in- and out-points and doing a batch capture, but I observed audio sync issues sometimes when doing direct captures, which didn’t happen to the same clip when batched.

Did this never happen to you?

Regards,

Uli

[Uli Plank]

I’d also discuss it with the person responsible for audio. A theatrical release needs a different mix than the one on DVD, don’t rely on automatics.

Another option you may want to test is one that we learned from “American Cinematographer” and we used it for the film-transfer of “Lost Children”: Uprezzing with Photo Zoom Pro (ex S-Spline), normally used for stills. Our footage was progressive (from a DVX-100) and sometimes very noisy (undercover shooting at dawn). It looked pretty impressive on film, but sometimes a bit like ‘painting’ instead of ‘photography’. The Process is tedious and slow, since you’ll need to work with batches of single frames.

So you see, up-rezzing depends very much on the footage you have, you’ll need tests of the full workflow under any circumstances.

If you need to skimp anywhere, don’t skimp on color correction!

Regards,

Uli

Author of “DVDs gestalten und produzieren”, a book on professional DVD-authoring in German.