AJA IO HD Down conversion

Just bought an AJA IO HD. Here's what I'm doing:
Using Easy Setups, selecting an IO SD Sequence
Dropping a DVCProHD 1080i quicktime movie onto this (and keeping the IO SD settings).
Rendering and then exporting as a self contained Quicktime for Compressor
My question is: what I think I'm doing is using the IO hardware/software down conversion to go from HD to SD - am I right?
I'm asking because when I unplug the IO it seems to do the same thing.
If the IO isn't actually doing the down converting, is there a way to do this other than when capturing?
Help appreciated.
Message was edited by: Dynamicworm

Thanks Shane and to all. This is what I suspected. For some reason, reading the IO manual it seemed to suggest there was a software downconversion once the footage was already captured but I guess I misinterpreted this.
The footage was captured a long time before I got my IO so it was already DVCProHD.
The reason I asked this question is because I've been having problems exporting my DVCProHD edit to DVD via Compressor and I thought using the IO to do it might solve the problem (there's another long post about this).
FWIW when I dropped my DVCProHD edit onto an IO DV50 timelime and exported to Compressor the result was much improved compared to doing the same thing on a normal DV50 timeline, so the IO software must be doing something.
Thanks to all again, appreciated.

Similar Messages

HD down conversion/HD file sizes

I just have a few quick questions on working with HD, as this is my first time.
First, if I am shooting in HD, but my final output will be SD, where does the down-conversion happen? Can I simply capture in SD, even though the footage is HD, or do I have to capture and edit in HD, and then down convert when I export the project to Compressor?
Also, one quick question about HD file sizes- I have found that SD DV footage file sizes are roughly 4.5 minutes per GB, using the DVNTSC capture codec. I expected HD files to be much larger, but after capturing roughly 4 minutes of video, the files were less than 1 GB. The files were definitely 1920x1080, and I captured using the Sony HDV codec 1080i60. Could I possibly be doing something wrong or is that how it is? I was sure HD files would be huge.

You need to be specific about what format of HD you are talking about here. There are MANY flavors. Uncompressed 10-bit, uncompressed 8-bit...both in 1080 and 720p options, then there is DVCPRO HD, XDCAM, HDV...but going by your last post I assume you mean HDV, the lowest form of HD.
HDV has about the same file sizes as DV (yet 3 times the area...thus it is HIGHLY compressed)..about 13GB per hour. DVCPRO HD 720p24 is about 24GB per hour, 1080p around 54GB per hour. Uncompressed...lots more. But HDV is about the same as DV...file size wise.
Your final output will be what format of SD. Again...there are many. Digibeta, betaSP, DV. If your final output will be DV, then it would be advisable to capture the footage as DV. Other wise you will edit in HD and need to downconvert when you are done. Either a capture card (matrox MXO is good for HDV) or by dropping the footage into a DV timeline and rendering or via Compressor. But it would be easier to edit DV to begin with if you are outputting DV.
Shane

Digital down conversion issue

I have to generate a sine waveform with a initial phase but it has to be reentrant.Since I'm simulating a digital down-conversion, I have to multiply the samples of each symbol with an equal number of samples of a sine wave that has a fixed frequency. So, for each symbol I need that sine waveform starts with the phase with which ends the previous sine waveform( related to previous symbol). Also, since I am simulating a 16 QAM modulation,I need to create a sine and a cosine, but the initial phase of 90 ° out of phase with each other. My problem is that SineWaveform ignores phase if reset signal is false, as in my case.

I'm having the same issue as well. In addition to the additions/deletions to the master pages, the signature panel indicates that a field on the title page of my form was filled in after validation. I ran a temporary script on the signature field's postSign event, using Acrobat's signatureGetModifications() method, to narrow down where the updates are occurring, and it seems that they're taking place either at the same time the signature is validated or just after. The form is set to automatically preserve scripting changes when it is saved; switching to "manual" doesn't help. Turning field locking on/off doesn't work, either. Once the form has been saved and reopened, though, the problem disappears and the signature validates correctly.
UPDATE 30 DEC 14: The master pages that are being "modified" have separate content areas for navigation buttons; it's these CAs, and their associated subforms and buttons, that Acrobat reports as being modified. I tried commenting out the scripts on the buttons' click events without success.
UPDATE 15 APR 15: I've compared the preSign version of the XML for the field that's being modified with the postSign version and found that the XML is somehow being modified by the act of signing the document. To clarify: I need to fill in a date field on my form to indicate when the form is closed out. I have the signature field's preSign set up to add the current date to the date field. The preSign XML includes <value> and <date> tags, which are missing from the postSign version. Why would applying a signature modify the form's XML?

Kona 3 Down Conversion Workflow

I have just set up an online system for a project shot on Digibeta and HDV. I am in the process of doing an edit on my offline suite which involves 3 tracks shot on Digibeta and 1 track on HDV 1080i. I captured the digi's in DVPAL and downconverted the HDV straight out of the deck into DVPAL which has all worked perfectly.
My question is: when I come to online the final edit, I want to down convert the HDV into the same format as the Digibeta 10bit uncompressed. I have literally never used the Kona 3 card before, and I do not own a HDV or Digibeta Deck to experiment with.
Can I use the Kona 3 to down convert the HDV footage on capture, or do I have to send it thru the card to a digibeta deck via SDI output?
Can anybody suggest a workflow to me please? Especially before I hire the decks in.
I am also not sure with Kona settings to use when down converting the HDV to match the Digibeta.
Thanks in advance!
Simon

Hi,
as this is actually a Kona 3 question you might try the Kona forum here:
http://forums.creativecow.net/cgi-bin/newviewposts.cgi?forumid=98
which is full of kona specific good advice
I also found that direct questions to AJA via their support page:
http://www.aja.com/html/support_contact.html
usually provided my answers.
hope this helps
peter

Down-conversión HDV-DV... is this right?

Ok. I just want to know if I did it right when down converting from HDV to DV, so that it can be broadcast.
1. When I finished my HDV 1080i60 sequence, I exported the clip in its original format.
2. Then imported that clip to a sequence with this settings: NTSC DV 3:2, NTSC-CCIR 601/DV, 16:9, field dominance set to "none".
I set the field dominance to none, because it was the only way for the clip to not look bad (pixels or lines).
3. It looks good. but I don´t know if it´s the right way to do it.
NOTE:
I already did it through compressor, importing the HDV clip to it and then exporting it with the SD definition for DV NTSC 16:9.... but the result was a clip quite pixelated.

I found the same issue when I recently edited with HDV 1440x1080p30. When I rendered FCP out to ProRes 422 HQ NTSC, then imported the ProRes clip through compressor, I got much cleaner video.
Larry

Displaying HD video through down conversion hardware on SD monitor

Hey all,
I have been searching hard for solutions to this problem. I dont have the money yet to purchase a high end sdi hd card for my mac nor do I have the money for a sdi field monitor. I have been looking far and hard for a PCIe card that converts the timeline display in FCP (like when you watch the timeline on the lcd ofyour camera) to a SD monitor. The issue is that I will be working with dvcprohd, 720p60 with the pulldown removed (720 23.98p) and many people are sceptable.
True I could just use my camera to connect the monitor (frankly I am not to far off from going with this, just cause it will be another $600 for the blackmagic) but I am trying to stick with the "camera is for filming, computer is for editing" not using the camera in any way with the tapless system.
I could go with blackmagics decklink pro, but I would be forced to use my firestore fs-100 in non-pulldown removal mode, cutting down the amount of footage I can store by nearly 4 times (4 hours to 90min or so, they have a firmware upgrade that will remove the pulldown as filming to conserve space).
http://www.bhphotovideo.com/bnh/controller/home?O=Search&A=details&Q=&sku=411259 &is=REG&addedTroughType=search
But with their card I am forced to use the highbandwidth 720p60.
So my choices are either that card and take the hit or, see if they make some sort of Firewire to s-video/composite converter that down converts the hd video to sd, like the blackmagic.
I am sure this is going to be a big market in the next couple years since alot of people will want to keep their sd monitors until it is completely needed to buy new ones, and a $500 card opposed to a $1500 monitor is not a bad option. Basically, I dont have $1800 to spend on a hd monitor and blackmagic hd extreme and I am trying to save all my cash for the hvx200 and fs-100 hard drive, almost $7000 alone for that!
Any insite is gladly appreciated!
Tim

Yep, someone mentioned the matrox to me on dvxusers too but for $1000, that is a price hike for me. The black magic has the same specs for under $600, just no dvi.
But now this begs the question, everything I look at states that it only can handle 720 60p, matrox, the blackmagic, they all say they can only display or down convert from a 720 60p. Now this is where it gets tricky, if I film at 720 60p with the varicam system, and then remove the pulldown while capturing, and even though the footage is now at 23.98, does that mean that the sequence preset which is set to 720 24p in my settings, is that actually a 720 60p based timeline and the codec that is displayed onto the monitor is 720 60p, not 23.98?
The reason I question this is that I found some 23.98 720 dvcprohd footage, put it into FCP and edited on a 720 23.98p (preset is called 72024p). When I exported it as quicktime video (raw) it stated in the get info window that the codec was dvcprohd 72060p, integer, little endian. So it seems like the base of final cut is using the dvcprohd 60p system. I am not sure if I am editing in 60p or 23.98p, regardless that it says 23.98 in the item properties window for the sequence, not the raw footage.
It seems like everything I read is 720 60p, but everyone is editing in 23.98 because that is the the preset option in FCP. It seems like the designers must know something that they wont specifically say.
I think if I were to buy the blackmagic, it may work out, I am just trying to confirm working ability before buying.
Curious, if I got the matrox and a small lcd screen to work with it, would I get the same accurate quality color correction ability as a normal field monitor? Or would I have to calibrate the lcd monitor somehow?
Thank you so much for your help everyone!

RED Down Conversion

Client shooting 6k RED files, what file type and size would you suggest for offline editing workflow.

prores and dnxhd are great for editing, both have low bitrate versions so doesn't take up so much space. dnxhd is limited to 1080p, and at this time adobe has no support for dnxhr.

Down Conversion needed from LV2011 to LV2010 SP1. This uses IMAQdx toolkit.

Hi,
Can someone convert this to LV2010 SP1, with Vision Development Module?
This file is in LV 2011 and uses Vision Development Module and IMAQdx toolkit I think.
Thank you.
Amar.
Attachments:
color identification conditional.vi ‏90 KB

Christian
Attachments:
color%20identification%20conditional[1].vi ‏90 KB

FCS 2: HDV to SD Conversion

"Bonsai" posted a method for converting from HDV to SD resolutions last year which avoids the "dreaded line doubling" of just exporting HDV (or AIC for that matter) to compressor mpeg2 (for DVD ) conversion. It involved using an DV50 sequence to improve compressors handling of the down conversion.
Question: does anyone with FCS 2 (just shipped, I know) know if this issue of line doubling has been solved directly by Apple? Using DV50 intermediate and "exporting" is a disk space (and time) costly operation, and I'd like to avoid it if I can.
Ed

Thanks, Jerry.
For me the issue is just getting from one of the many HD formats to SD without going through a DV conversion with its color space issues. It is interesting that with the Bonzai solution one basically just sets up a SD sequence (DV50 is the suggestion) into which your drop your HDV ( or AIC, or, I'm guessing, even actual HD), with a particular value set for the conversion (linear as opposed to "best") and this causes compressor to behave better.
Apparently, without this little "fix," sending HDV, AIC or (?) directly to compressor for mpeg2 SD compression results in every other scan line being discarded, and the other ones repeated; the result is pretty jaggy around sharp, diagonal edges. Using DV50 with "linear) apparently results in averaging and dithering adjacent lines prior to the mpeg2 compression and the results are noticeably better.
The Bonzai solution also suggests "blurring" the HDV sequence, but in my testing, I found that though it makes edges a bit smoother, it softens the rest of the image too much for my taste (and that is with a .5 blur on each channel).
Anyway, it seems that the problem in this case is NOT HDV and its issues, but rather with the way in which Compressor 2.x deals with downsampling. The audio world has dealt with this in the early days of DAWs and the various flavors of dither, UV22, noise floor injection, etc. to down sample recorded rates (like 48kHz) to CD rates (44.1kHz) and word length reduction from 24 bits to 16.
I'm hoping compressor has handled this better in V3 so that I don't have to pay the time or space to convert things to DV50 (space if I export, time if I just send the DV50 sequence to compressor out of FCP). Clearly, the mpeg2 SD process should do the right thing and not just toss every other line.
Ed

HD to SD conversion

Hi,
I have HD footage which I have edited in FC and using a variety of methods tried to convert to SD and author in SP. All results have been poor quality video with soft images, blurry motion and jagged edges on straight lines. I have tried using compressor to export to DVD best 90 min, 120min even 60 min setting as well as changing one of these to settings to output field=top first or progressive as well as setting deinterlace to fast with no major changes in results. I have also created an SD sequence (using DVCPRO50-NTSC compressor setting with field dominance set to upper) and imported the HD footage into it while maintaining seq settings. I then exported SD footage out of this seq with current setting and authored in SP with similar results. Comparing this footage with my SD camera footage processed through SP footage shows extremely poor quality. Any advice and or lessons learned anyone could share would be greatly appreciated.
Sol

Hey there, I'm real new at this and no doubt the rest of the folks here are more qualified to answer this question, and may not like what I have to suggest, but I have had this problem myself recently and I want the chance to help here as so many help me. (i love this discussion).
I found this walk through "step by step" on how to make your video look great. i would suggest that you make 100% sure that your video was captured in HD in FCP. Double check your settings for the capture, but then make sure that your settings on your Sequence match up with SD (that is why your getting crappy end result). What I did was create a new project and sequence, clicked file> easy set up> then choose an SD NTSC option, then set your sequence to the same, then paste your already edited sequence in the new sequence and then export it to a QT making sure that you have even within that an SD NTSC option and that'll do it. Believe me this has been a struggle with me too and it should be easy to make crystal clear HD footage look great as an SD, but you just have to check all your settings.
Now here is what I've found also (as I mentioned above) it work absolutely perfect for me (although it feels like a lot of steps that may not be necessary once I'm a pro). The guy calls it the bonzai method and the following is his step by step method:
the website I found it on is: (http://www.produxion.net/2008/04/08/hd-to-sd-conversion-the-holy-grail/)
1. Create a standard definition timeline, using the DV50 codec.
2. Drop your HDV footage into that DV50 timeline – Final Cut will deal with all of the rescaling and de-interlacing.
3. Export the timeline.
4. Import it into DVD Studio
Et voila! It sounds simple, and in essence it is. There’s just a few settings which might trip you up along the way, and I’ve had to experiment with using a few different settings to get good results.
I’ve converted the workflow so that I generate PAL footage, and here’s a brief step-by-step guide to what to do to get HDV footage onto a SD DVD.
First you need to create your sequence for the down conversion:
1. You should have your finished edit in a HDV or Apple Intermediate Codec sequence.
2. Create a new timeline, and call it something like “Final Edit – DV50″.
3. Make sure you have this sequence selected (sometimes Final Cut can be picky over editing settings on something you haven’t selected) – just click on the sequence timeline to make sure it’s at the forefront.
4. Go to “Sequence settings”.
5. At the bottom of the settings window, click the “Easy setup” button.
6. Select “DV50 PAL 48 kHz Anamorphic”.
7. Back in the sequence setting window, make sure that “Field dominance” is set to “Upper (Odd)”. This will save you a world of pain when it comes to importing into DVD Studio.
8. Click the “Video processing” tab.
9. Towards the bottom, you’ll see a “Motion filtering quality” setting. Set this to “Fastest (linear)”. This makes sure that your deinterlaced image doesn’t look like it was done on an Etch-a-Sketch!
10. Drag your master sequence (your HDV one), and drop it into the DV50 sequence. Final Cut will scale your footage anamorphic DV resolution.
11. View the master sequence in the viewer (select it in your timeline and hit return).just check the Filters tab for the sequence, as Final Cut can be prone to add a Field Shift filter if you haven’t set the field dominance correctly – you don’t want that, as it’ll cause headaches later on, and add time to the rendering process.
That’s all the tricky stuff out of the way, you can now go ahead and export a master copy:
1. Select “Export > Quicktime Movie”.
2. Make sure “Make movie self-contained” is selected (else you’ll end up with reference movies, and that’ll open a world of pain for you).
3. Don’t change any other settings – you want to be exporting with the default codecs for the sequence.
4. Go make some coffee.
Once your file’s rendered, just give it a check. It’ll play in Quicktime et al in 4:3, so will look all squashed – that’s just because it’s an anamorphic file – we’ll be stretching it out again in DVD Studio.
Final step is to import this footage into DVD Studio Pro:
1. With your DVD Studio project open, select “Import” and locate your file.
2. In your asset viewer, right-click on the video file, and choose “Encoder settings…”
3. It should be set by default, but just make sure that “Field Order” is set to “Top”. This makes sure that the interlacing of the MPEG encoded file will be the same as your source file.
4. Set “Aspect ratio” to “16:9″. This will stretch your footage back to it’s original size.
And that, should be that! Work with your assets just like you would for any other DVD project, and when you come to build and format your discs, they ought to play back with crystal-clear clarity.
Some things to note:
• It really is worth always checking your DVD builds on a proper cathode TV. A lot of the time, the scanning of LCD monitors will hide nasty interlacing problems, and you won’t be able to tell if things have gone astray.
• I’m working with Final Cut Pro 5 – I’ve not had a chance to upgrade to version 6, so couldn’t say whether this process works in the latest version – or indeed, whether this whole process is no longer needed.
• There are other elements of the Bonsai Method, such as applying a channel blur to reduce flicker. I’ve not felt the need to use these, but it’s worth reading about them, as they could be useful to you.
Good luck,
Crayton

HDV to DVD conversion

I've read a great deal of discusson on this site regarding HDV to DVD conversion and how to get the best possible results. There seem to be about a half a dozen marginal solutions but in my opinion and experience no real perfect definitive solution.
This is in the way of a suggestion/plea/request to Apple, to those who run this forum, and to those experts there who deal with Final Cut pro and HDV editing: Could someone please create a definitive expert professional manual/post/procedure on how to do this very straightforward conversion from HDV to DVD with the BEST possible industry quality results.
DF
g5 tower Mac OS X (10.4.6)

Seriously, open the phonebook, start asking who can take a HDV master on miniDV tape, and hand you back a DVD in a day or two, it may be cheaper than buying pro encoder software, and your time to learn how to use it effectively. You should have budget for this, promos / trailer work should be included. Your time costs money. It will also put you in a better position to know what to ask for when the project is finished.
Using the camera down convert is good enough. DVD from DV is fast to make. If you are just previewing it, S-VHS is also good enough, and very quick and simple to produce - don't rule out lower tech, or lower quality options, they will still tell the same story.
In answer to your question, (do you really want to know ?), the colour space of the NTSC DV in camera down conversion is 4:1:1, the colour space of MPEG video is 4:2:0 (search for those terms, until you hit a page with diagrams of boxes), the differences in these structures results in a worst of both colour encoding - if you are shooting PAL, then the story is different, as PAL DV is also 4:2:0, and probably not significantly different from the DV50 method, once its on DVD.
DV50 is 4:2:2, HDV is 4:2:0, but at a higher resolution. When downscaled, I estimate SD from HDV is around 4:2:2 or maybe even 4:4:4, by going via DV50 to DVD you deliver the most DVD's can represent, rather than with NTSC DV where you deliver half the colour space DVDs can show. BUT the in camera down convert is REALTIME, consider the benefit of that before taking the slower route.
Is the DV50 the best SD down convert ? I don't know. It certainly looks very clear, shows no, or little signs of the DV50 codec adding artefacts over the original HDV footage, and produces more quality than the MPEG encoder can represent once on DVD, or at least, the MPEG encoder I have access to. I cannot say the same of the in camera convert. I also played with uncompressed codecs, and the None compression codec, they require huge amounts of disk space, and didn't look better than the DV50 method. However, I didn't test them with your footage.
I suggest a 1 minute 'bake off' between the methods, using your own footage, to see just how much quality you are willing to accept. You may find the in-camera is good enough, and a darn sight easier and faster.
Hope this helps - search around more, trawl through some older threads, or, just pick up the phone and call a post house to make it all go away! By the time you have figured out what works best for you, they would have finished and be on to the next job.

Pull up conversion to resolve sync issue

Hi
I have a sync problem on a feature film I am working on. It's a musical. I recorded the songs before the shoot in Logic Pro and produced BWF rough mixes at 48k/16 bit. During the film edit there seems to have been a pull down conversion because the film audio now drifts ahead of my original multi-tracks. A colleague has tested the required pull up in Pro Tools (it's NTSC to Film) and this put the audio perfectly back in sync. I don't have PT.
Is it possible to load the multis into STP and do a pull up conversion and then drop them back into Logic? I am new to STP. From what I've read you can pull up/down within a project but it doesn't export the pull up/down. I don't know how but I believe i could do a time stretch - I'm not keen on this as I understand it will introduce audio artefacts. And from what I've read there's no preset for timestretch so I'd have to do key in the % for every file (one song has over 80 tracks of audio!)
(just in case you're wondering.... for complicated underscoring reasons I need to sycn the multis rather than mix the tracks out of sync and do the pull up of the mixes at the end)
Cheers

Video is is 24 fps H.264. It's locked off - they're grading it now so there will be no tinkering with time in that realm.
Audio that went into FCP (rough mixes)was 48 k, 16 bit BWF. The Logic session was set to 24 fps before these mixes were bounced out. The Logic session itself is 24 bit. These original mixes when dragged back into the session they originate from are in perfect sync. When the same mixes are dragged into the OMF derived from the movie my mixes are slower than the film. The OMF audio and the audio embedded in the QT are in sync. So I am slower than the film.
As I mentioned I am working in Logic Pro- The film was edited in FCP.
I don't know the sequence settings in FCP but my editor says she was aware of the quirk where the sequence settings and default settings might be different such that the audio might be pulled up or pulled down. (Despite her protestations I'm pretty sure that's what happened - but she is very experienced). I actually know nothing about FCP except what I've read on the web.
My editor might suspect I am the culprit. She claims that the mixes I originally gave her are 'at 30 fps.' Maybe someone out there can clarify something for me. My understanding is that BWF are time stamped but not with a frame rate. ie; the embedded TC is just a time (as in hours:minutes:seconds:milliseconds)? Even my BWF had an embedded TC of 30 fps we have established that the correct amount of pull up to put my out-of-time audio in sync with the movie is .1%. That's NTSC to film - not the 4% required to correct a 24 to 30 fps discrepancy.
My original question stands btw. I'm a STP newbie too and I'm wondering if I can do pull ups in STP. If so how do I export this audio out of STP?

KONA 3 will not playback on CRT Monitor

Hi
I am having problems with playback of clips and sequences in a DVCPRO HD 720p50 project. When I view clips on a JVC CRT monitor, via SDI out, using the 625i 25 down conversion feature in the KONA control panel, I only get a still frame until I stop playback at which point the frame updates to the current frame. Strangely, if I drag the playhead through the clip I can see the clip playing fine.
I have made sure that 'External Video' setting in FCP is set to all 'All Frames'.
I've made sure that the Video Playback option is set to AJA Kona 720p 50 8 bit (1280X720).
The Kona 3 Control Panel has been set up the recognise the 720p50 frame setting and down convert to 625i25(PAL) for output to the SD CRT monitor.
The only time I get proper playback on the monitor is when I set FCP video playback to AJA Kona 720p25 8 Bit DVCProHD(1280x720). However I get an awful strobe effect on the monitor.
I'm wondering whether the KONA presets even support this type of project/clip as nowhere can I find a preset that recognises my frame size - 960x720. The footage was shot on the Panasonic HVX200.
Any help would be really appreciated as I've spent many hours trying to find the right settings
Thanks

I suspect that the cameraman recorded the material at 720p50 PN. This uses less space on the P2 card or Firestore, but the footage has a timebase of 25 fps, which apparently the Kona card doesn't handle.
Ask the camera person to record at the normal 720p50 setting on the camera, and the normal P2 or Quicktime setting on the recording media.
As for the footage you already have, there is a method in Compressor, to get it to 50fps.
For the setting select Advance Format Conversion - DVCPRO HD 720p60, and in the inspector Encoder (2nd button from the left) for the video settings select "Custom" and type in "50"
(By the way, this is also a workaround if you don't have FCP 6 and the new Frame Rate Converter to make a nice slow motion. After you get it to 50fps use Cinema Tools to conform the footage to 25 fps and it makes it play at 50 percent speed)
(Disclaimer - I have only a little experience with the HVX200, but this is what has worked for me.)
PowerMac G5 2.7 Mac OS X (10.4.6)
PowerMac G5 2.7 Mac OS X (10.4.6)

Export to SDHC

I have an Sony EX3 and work for a station that broadcasts in SD. My workflow is to edit on FCP in HD, export back to the SxS card and play the stuff out of the camera using the SDI to downconvert to SD.
I want to own a JVC GY-HM700 and wonder if it'd possible to use a similar workflow - ie. export back to the SDHC card and play out of the camera by SDI in SD.
Anybody?

I don't know if the camera supports this, but I'd think you should be looking at a capture card or MXO to do the job, and allow you to view externally as well. AJA's new LHi card might be the best choice, or if you don't care about inputs, Matrox's MXO would do the same. That way you just send out the HD to the card/box and tell it to do the downconversion saving you the time to record back to the camera, then do the down conversion.
Jerry

Can mac book pro quadcore playout uncompressed full raster video?

Hello, I' ve a MBP quad core, 2,1 mhz, 500 GB HD, 7200 rpm, 8 GB RAM.
I'd like buying a AJA IO HD for video signals' connections and up-down conversions. IOHD can connect MBP by FW800. AJA claims chance to import-export (from/to laptop) uncompressed full raster 10 bit HD video by FW800, but it seems difficult for me to believe it, for FW800 low data rate (800 MB/s), respect HD uncompressed data rate (1,5 GB/s).
Thanks for your answers
Amedeo

dont know what to say ... it works fine on mine
try trashing prefs, repairing permissions, re-booting, and all that jazz
try creating a new user account and see if it works there

AJA IO HD Down conversion

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