Ingest over SDI

hallo
at first i know my english is bed, sorry.
I want to ingest over SDI and HD-SDI.
Is everybody here who know a cheaper Card as Osprey 700 HDe*

Osprey 530 and 560 are other range of cards which can give SDI output but not HD-SDI. There are blackmagic cards also available but i guess there cost is on the higher side.
DRC cards (digital rapids) also support SDI input but not HD-SDI. You can check it from there website.

Similar Messages

Recommend a capture card for uncompressed 8-bit over SDI?

I've got a number of digibeta tapes that need to end up as 720x486 Apple 8-bit 4:2:2 uncompressed quicktimes. Is it possible to find a card that can capture natively to this format? It seems like the blackmagic and Aja cards use their own flavor of 8-bit uncompressed. I want to be able to use/view these files on any system that has quicktime, without having to install any additional codecs. Am I right in thinking that Apple's own version of 8-bit uncompressed is included with any quicktime install? Any way to capture right to this format, rather than capture to another uncompressed flavor and export?
-f

Sure, there's several in fact. AJA, and Decklink make the units you need. My favorite would be the AJA LHi card if you have no need for 2k conversions.
www.aja.com
Jerry

Outputting via SDI to DigiBeta thru Blackmagic Decklink Extreme

I'm running Final Cut Pro 5.1.2 on MacOS 10.4.8. I've edited a 23.98FPS - DVCPro50 sequence. I can preview using the Decklink Extreme card fine. I can output via compenent out to a regular beta deck (UVW-1800) just fine, which is also the deck I use for monitoring while I am editing. I plug the SDI output from the decklink card into our digibeta deck (DVW-A500). I also send the audio over SDI. I see both the audio and video in my digibeta deck. If I just PLAY the sequence out, the digibeta sees and hears it fine. No problems.
This is my problem. Whenever I try to 'edit to tape' it usually starts out fine... then I get A LOT of digital drop outs / squares / digital distortion on the digibeta. They come up randomly and it also digitally distorts the audio when you play the tape back.
The digibeta deck is fine, as we use it to output via our Avid Media Composers every day...no dropouts or problems. It has to be with FCP / DeckLink Card when you try an 'edit to tape'. I've also tried a 'print to video' with the same results. Have you guys heard of this problem at all? Hopefully you have a fix for me...
thanks.

Awesome - the Out Ref fix did it!
When I did the edit to tape I tried both insert editing and assemble editing - both ended up the same.
On a side discussion - how do you sync the FCP machine with the black burst generator? I'm still a bit new to this - what exactly does the genlock do on the Decklink Extreme card? Is this where I sync with the black burst?
I assume the digibeta deck will also get synced with the same black burst generator. Does this go into the reference input on the back?
Thanks for your help,
-Grant

Beta SP via SDI?

I have a multi-Betacam format Sony J30SDI player which has SDI outputs and also Firewire, S-Video and composite analogue outs as well.
It is normally used to capture from Digital Betacam via SDI into an AJA Io. If I needed to capture some Betacam SP footage using this deck, would it be OK to bring that in via SDI as there are no component analogue outputs on this deck?
If so, I presume the most appropriate capture preset would be the Io SDI 8-bit uncompressed and not the 10 bit we use for DigiBeta?
Any advice would be most welcome, thanks.
Alan
Quad G5, AJA Io, X-RAID Mac OS X (10.4.6)

Yes you can capture SP tapes over SDI from a J30 with no problems. In fact the J30 probably has better dropout compensation than an 1800 or 75. As for capture settings, if you are working in a 10-bit timeline, capture at 10-bit. For an 8-bit timeline, capture at 8-bit.

Prelude makes multiple copies on ingest

I am a producer/director trying to speed and ease workflow and story development by using Prelude to ingest video files we've shot. I hope to do the initial organizing and rough cut and then hand off to my very experienced editor for the "good stuff".
i download the raw files to a drive, duplicate that and then, when I'm ready, ingest those folders into Prelude. Problem I'd some of the files (only AVCHD) are duplicated up to 10 times when I ingest. I am mystified.
the obvious thing to do is delete extra copies but what the heck are they there for in the first place? What am I doing wrong? Nothing about this in documentation that I can find.
Many thanks
Dan

Hi Dan,
Thanks for the extra details.
From the first screenshot I don't see any duplicates. Well, I should be more precise... I see duplicated file names in the project panel, but each name has a unique start Timecode and duration. This leads me to believe they are indeed different file. I cannot see the entire Path column so cannot be 100% about this, but if you expand the width of the File Path column you may see that each duplicated filename is actually pointing to a different location on disk.
A note about how Prelude ingests folders with sub folders. And I'll admit this is certainly a short coming in the product we need to fix. When you import a folder and it contains sub folders with clips in those sub folders, Prelude's Project Panel hierarchy will not replicate the sub folder hierarchy found on your disk. Instead, it will flatten all media file paths on ingest and put all references into the same BIN. I believe this is what you are seeing and why you thought there were duplicates being made. In reality I think there are no duplicates, Prelude is creating a flat organizational structure in the Project.
Some possible steps to help your re-order the assets into meaningful BINs in Prelude:
In the Project Panel click on the column header for the FILE PATH column. This will sort the contents based on that column. Now you can select all the assets from a particular day's shoot and drag-drop onto the new BIN icon at the bottom of the Project Panel to move those assets into a new BIN that you can name to match the day's shoot. I know this is far from ideal but it should save you time compared to starting your ingest over again folder by folder.
Let me know if I'm missing anything here. Adobe is shut down for the holidays (Dec 20 through Jan 5). Feel free to ask me other questions and I'll do my best to catch them in email. However I am traveling for the holidays and may miss it. If that happens (ie you don't hear back from me before Jan 5), please ping me again.
Thanks,
Michael

Strange Problem capturing with Apple Intermediate Codec

We have the following problem:
We capture with a blackmagic decklink studio card (but I could reproduce the same problem using a MacBook Pro and the internal camera) with a MacPro and CS4. When capturing a live video feed (1280x720) with the apple intermediate codec (set to 29.97fps or to 59.94fps) everything seems to work just fine. But the resulting videoclips happen to be exactly ONE half of the total capture time. So if we capture in Premiere for about 1 our the clip is only 30 minutes long. If we capture for 10 sec., the clip will be 5 sec. long. It's not that the captured clips play with double the framerate. Half of the actual footage is missing.
Any suggestions?
By the way: we live in a PAL50Hz country, but our video signal that needs to be recorded comes in as a 60hz signal.

Hi,
Well I did some googling...and I would bet that the problem is the 50hz vs 60hz...
Unfortunately most if not all info I got that even BRUSHES on this subject with the sort of material you're dealing with is the opposite....where they are in 60cycle land with pal stuff....rather than in pal land dealing with 60hz ...
This is a lot of misc stuff but if you get a little bit of info from various posts and make some notes you might be able to get an idea how to solve the problem...
In particular I was looking at how frames are flagged and new frames are created later ...( toward very end of these posts - the last four or so )
Also noted some timecode reading that was "doubled"....so if your deck thought you had a specific length and then it read the timecode doubled, it would be your problem in a nutshell... have you checked the last frame you captured and compare that timecode to the overall length ??
anyway, here is a TON of stuff to breeze through...good luck...
THIS IS EDIUS RELATED..so keep in mind re: specific presets etc
Steve Sherrick
03-03-2008, 11:14 AM
Hi chaps,
Can I just confirm that the SDI/HDMI outputs are only live in build 14? I'm on 13 and going SDI - HDLINK - DELL24" gives me nothing. I'm in PAL land so have tried switching between 50hz and 59hz in camera.
So do I need build 14 or is it something else?
Cheers
Jeff Brown
#708
I'm in NTSC land but that same setup gives me picture just fine. Which Dell model is it? Is everything set up right from the camera side?
Jeff Brown
03-04-2008, 12:42 PM
Hi Steve,
I believe so. Set to Preview in th viewfinder settings, plugged in on preview mini sdi, cam set to 50hz..
Anything I'm missing?
Cheers
To counter this, the AJ-HD1400 offers two modes specifically for this called '25(SD)' and '25(HD)'. They output the 25fps signal with new timecode on a 50Hz carrier (only over SDI/Analogue the Firewire doesn't work in that mode).
It only works with 25fps material too, any other 'offspeed' rate has to be dealt with separately with the deck operating in 59/60 mode.
When operating in either of these 25 modes, the deck generates new 25fps timecode from the tape (although our tests have indicated that it is frame accurate of multiple playback passes).
Basically, Varicam, while a very nice idea, has only ever been properly designed to work in a 60Hz environment. It is pretty much a nightmare in 50Hz environments.
I think I may have found the cause of the problem.
For some reason when I started my project it had a Device Control profile set to 720p50 (rather than the 1080i50 that the deck is operating in).
What this seems to have done is double the frame number on any clip it encountered. So if I took a clip with in marked at 01:02:40:22 and dropped it in the Log and Capture tool the In Point that FCP decided to look for was 01:02:40:44 (which isn't going to exist on a 25fps timecode obviously).
Since you are using Pal
Go :
Generic OHCI HD 50hz -> 960x720 25p over 60p
Because if I am right you can't do Pal over 60hz but you can do PAL over 60P at 50hz.
( but I could be wrong)
But the other problem is that you are using an ntsc profile to capture pal recorded footage.
50 hz 960x720 over 60P yields a frame rate of 25 progressive
60 hz 960x720 59.94p yields a frame rate of 59.94 progressive which is far from your original footage . Mostly used for countries using natively ntsc
Neither myself, nor Ricksta (I don't think) are using NTSC-rate profiles.
The Preset setting I've been testing with is:
Generic OHCI HD 50Hz 960x720 25p over 60p
Indeed, I've just tried what Rick mentioned, and with the deck in 59.94Hz operating frequency, I can capture with all three 720p 59/60 input settings. This is technically wrong however, as the tape has been recorded at 60Hz. But like I said before, until Rick hears from the big geeks at Panasonic about this, I don't know what the real outcome of that difference in frequency is.
I've also tried a 50p over 60p project setting (as 720p50 is what I will be editing with in Avid) - but, predictably, this works but gives me double-speed footage. Which, while amusing, isn't a lot of help for me
A large part of the problem I'm facing here is to do with the Varicam format. It will record any framerate from 1-60fps. It has to operate and a system-frequency of 59.94Hz or 60Hz. That is what Rick and I are referring to. The limitation I face is that the Varicam format is not widely supported for PAL-based rates (25/50) as it requires communication with a deck operating in an NTSC-based system frequency (either 60Hz or 59.94Hz). This difference (between project/timeline framerates, and deck operating frequencies) is enough to ensure that IEEE1394/Firewire/OHCI capture is not possible in these modes in Final Cut Pro, Avid (any version) or any other NLE I have found.
We realise that the framerate and frequency we're working in has to be 50-based, and we're not making any mistakes in that respect.
So far Edius is the only NLE on the market, that I have been able to find, that supports Firewire capture from 60Hz DVCPro HD material in a 50Hz based framerate.
When you have captured the file in that project select a clip in the bin press alt+enter go to video info and tell me what the framerate is .
In a 50p over 60p project, when I capture footage shot 25p over 60 with the 'Constant Rate' capture profile I get a clip in the bin that is 50fps, but that plays at doubletime - which is what I'd expect.
I can change the framerate in the properties to 50fps, and it plays at the correct rate, but I'm not happy with the way to refactors the timing in that mode. It seems to create interpolated frames to fill the gaps, which provide an unusual appearance that I don't really like.
At present if I capture into 25p over 60p project, then import the resulting 25p footage into Avid, Avid doubles up the frames to produce 50fps material.
Some clarification here. The Varicam does indeed record at a constant 60fps. If the frame rate is set to 25fps for example it simply flags the active frames. This flag is carried in the vertical interval data. The reason for this system, is as suggested, it is very difficult to vary the speed of tape in a helical scan recording system. With the advent of solid state recording that Panasonic introduced in the AG-HVX200 it is now possible of course to only record the active (native) frames and this would be called 25pn for example.
Originally with the Varicam you used to use a device called a Frame Rate Converter. This box contained a hard drive with HD-SDI I/O. It would recognize the active "flagged" frames in the incoming signal and buffer them through the hard drive and then play them out at the correct frame rate.
More recently NLE's such as Avid, FCP and Edius have incorporated this flagged frame recognition and perform the extraction automatically. Thus when I tested a 25fps Varicam ingest on a 25 Frame timeline I am getting realtime playback. If I had recorded at 50fps and I placed that on a 25 frame timeline I would have very smooth half speed. Also the newer DVCPRO HD decks such as the AJ-HD1700 and AJ-HD1400 have the ability to decode "on-speed" frame rates such as 30fps, 25fps and 24fps.
The issue that Dylan is facing is that the NLE's will not accept a firewire input at 60Hz, they only accept it at 59.94, this is a .001 frequency difference and should be negligible. The other alternative is to ingest via HD-SDI via a Black Magic or AJA Kona card etc. These boards also support the variable frame rate function.
I hope that this helps clear things up a little.
Rick Haywood
Manager Broadcast & Display Systems
Panasonic New Zealand Ltd.
Further to what Rick is saying... The issues with most NLEs for PAL users is the disparity between the 59.94/60Hz operating frequency of the deck and the 50Hz based framerates the applications are working with in PAL framerates.
As for the constant 60fps - it is indeed recording 60 images per second to a tape, but as I said before, only a certain number are unique - only the flagged frames. In 25fps, the camera samples the sensor 25 times a second and records that frame to tape. Essentially you get frame 1 recorded for 2 frames, frame 2 recorded for the next three frames, frame 3 recorded for 2 frames, etc... The first frame with each unique image is 'flagged'. To rebuild the recorded framerate, only the flagged images are captured.
The big bonus of Edius for me here is that it can capture the PAL framerates from the 59.94Hz deck over Firewire directly. Something that Avid and FCP are unable to do.

DVI to Video adapter CRT Broadcast Monitor? Is there a better option?

I am a freelance motion graphics artist, and I use Final Cut Studio, After Effects, Photoshop, etc.
I need a CRT monitoring solution for checking my color grades, etc.
SD resolution is fine, and i've got my eye on a JVC TMH-150CGU broadcast monitor from B&H. It has an S-Video (Y/C) input.
I'm thinking of using the Apple DVI Video Adapter hook up to it via S-Video.
I have a Pantone Eye-One that I can use to calibrate the monitor.
Would this setup work ok in the above applications? Will it support Digital Cinema Desktop Preview in Final Cut?
I have the 30" Apple display. Will connecting the CRT via DVI steal 256mb of my video memory???? That seems drastic considering it's already driving a 30" display AND running after effects!!
I've thought about FireWire monitoring, but I suspect the FireWire/DV 4:1:1 compression will affect the colors.
I know a CAPTURE CARD would be ideal, with SDI, etc... but I don't really have a need for a full blown capture card at the moment. I don't think use it to it's full potential (ie- to capture). It seems silly spending $$$$ just for a monitoring solution.
Or is a capture card my only option for pro monitoring? If I was to buy one, i'd want a future proof one should I digitize in the future (ie, HD, with analog support), so that leaves either a Blackmagic Intensity Pro (which I believe is only 8 bit) or a BlackMagic Decklink HD Extreme. And then i'd also need the SDI or Component expansion card for the JVC monitor, and before I know it, i've spent over $1000, just for a decent monitoring solution. Ouch.
I strongly considered the Intensity Pro card, because I could monitor SD component, and HDMI HD from the same card. But it put me off when I heard it ws only 8 bit. But it is 4:2:2 though.
What might KILL the Apple DVI adapter option is I have a TON of PAL footage, and I heard the adapter is NTSC only (or a seperate PAL version). So even though the monitor supports both standards, the adapter doesn't. Or so I've heard.
Very confused. Any other options or advice would be greatly appreciated!
Thanks!

Hi,
From the sound of things you have answered your own question.
If you wanted a CRT to just check video playback, safe areas and text legibility then a cheap option of monitoring via a deck or camera would suffice.
You mention a lot of PAL footage just as a FYI this would be 4:2:0 as opposed to 4:1:1 with NTSC under the DV codec.
You don't mention (and I'm sorry if I missed it) what codec you output to. I had always found when working with DV only that a DV monitoring solution was sufficient for most applications.
However as you indicate that colour plays a factor in the equation bite the bullet and get a decent monitoring system from the off. I am using the Decklink Extreme and have found it to be excellent especially in real time conversion and monitoring of HD to SD.
In addition you get the ability to work all the way up to 10bit (drives allowing) and capture over SDI with full deck control.
You could stagger the cost since the BM card will let you monitor composite out in addition to component so the expansion board for the CRT might not be a must have from the get go for you.
Whatever route you go you will want to calibrate the CRT using broadcast colour bars rather than a Pantone system, theres plenty of info on the web regarding this . . and why.
Message was edited by: Steve Mizen

Captured TC from BMD counts backwards inside PPro CC

Setup as following:
Epic SDI out (1080p25) through BMD DecklinkHD Extreme3D+ captured via PProCC. TC is TOD and shows the correct time on the outputmonitor (JVC-DTV24-G1) when capturewindow is activ.
But a captured file in projectwindow always shows mediastart at 08.06.40.00 and counts backward (i.E) 08.06.32.00
When capturing through the BMD Mediaexpress the correct TOD is shown (imported in PProCC.
Is there a setting what I´m missing or what else can I try?
thx
bg
alex
updated:
I just noticed that all captured files (with wrong TC) in the project window are interpreted as upper field first. But my capture settings are defintely progressiv (not psf, real progressiv)
Is PPro not able to handle progressive capture ála Epic in a correct way?
btw:PCwin7/64

anyone? from Adobe?
I read all helpfiles, looked at tutorials regarding capturing, but there is no mention about TC via SDI, only capturing via rs232 or firewire, which is from the last century.
So a question to Adobe:
Is PPro able to live capture a correct TC over SDI with a BMD card in a professional way?
thx
bg
alex

Digitize resolutions offline workflow without rendering

Hello Guys,
one more question with offline resolutions: we are trying to digitize miniDV material over SDI or DigiBeta over SDI (blackmagic decklink and the other workstation is equiped with Kona LH) in OfflineRT. Whatever we do to store our material offline and work offline we have to render it completely and miss audio. With 10Bit PAL or NTSC no Problem. What is wrong?? Thank you very much for an answer.

mmmmmm.... Try opening the capture preset editor for DV to OfflineRT. (Duplicate it) then select the digitizer to be your Kona card... might just work like a charm! I can select it from there... I'd think you can too.
You'd probably want the 8 or 10 bit digitizer set... and your Kona control panel you simply leave alone. dunno about the Decklink gear.
Seems to me it might work just fine, and the Decklink gear might also work.
You'll end up with a custom capture preset for 8 or 10 bit uncompressed to OfflineRT that way.
Jerry

Looking for the Holy Grail

I'm wondering what you guys and girls are using as fast storage for uncompressed hd work.
My company is looking for a solution that is reliable, but less expensive than an XRaid solution.
It can be raid0, raid5, raid10, I don't care, I just want to know what is working for you in your real world applications.
To be honest here, we're not currently doing uncompressed HD work, but are about to start doing some uncompressed SD and would like what we buy to be fast enough to step up into the HD realm if we can land some larger accounts.

I suppose we can agree to disagree. You've been on this forum for as long as I can remember. Furthermore, I basically agree with every thing else you post here so I don't want to get on your bad side.
The most important point that I believe has been overlooked is that broadcast and the future HD DVD (both standards) use the same or similar wide GOP MPEG or WMV compression that HDV uses. Sure stations may use D5 or HDCAM decks in the control room, but the actual HD broadcast is always downsampled. Most HD broadcasts are AT BEST 19mbit and usually much lower. And that's a 60P stream so 30P or 24P footage will only use half that bandwidth for active frames due to the pulldown. By the way, I believe JVC's HDV1 720P CODEC is superior in this regard because it devotes the entire bandwidth to active frames and uses a smaller GOP of 6 for better motion rendering. Even DVCProHD wastes over half of it's 100mbit bandwidth on inactive frames when shooting 24P or 30P. I have no experience with HDV2 1080i format but I suspect it also wastes some bandwidth in 24P modes on inactive frames due to it's pulldown pattern and uses a 12 frame GOP which would hurt motion rendering.
My impression of HDV1 720P is that the footage is very similiar to DVCPROHD even in high motion, but with a smaller colorspace. Human eyes don't see the lower colorspace in most cases and when transmitted over SDI, most systems can actually smooth the chroma channels making it even less noticable.
I don't agree that the subjective quality of an HDV image is below DV-25. Most panning artifacts are subject to camera settings. It's amazing how a shutter speed adjustment improves the look of such footage in 30P and 24P. Lowering sharpening really reduces motion artifacts. I suppose with a really crappy HDV camera such as the older JVC GRHD-1, one could say the image is inferior to DV, but but I don't think the format is subjectively inferior when shot correctly.
Yes, the same artifacting you describe is so rampant in HDV will be visible on broadcast, regardless of the quality of your source footage that you hand over to the station. Of course there are instances like I mentioned when it is best to edit in the highest quality format for color keying work or advanced color correction, and especially filmout.
However 95% of the time HD footage will be compressed at a rate that is lower and more destructive than HDV when viewed by an audience.
Am I wrong about any of this? Please correct me if so.

Feature Request: Send to Tape via Media Manager

Please forgive me if this capability is already available in FCP.
I would love to see the ability to automatically transfer all the clips of a particular project, takes and outtakes included, back to a single, new tape using the Media Manager. Furthermore, the Media Manager could modify the timecode info for each of the clips into a new "archive" project to correspond with the newly created tape. This way, I could basically archive entire projects out to tape and have everything I need footage-wise in one place. With such a feature, bringing a project back online would only require a single batch capture.
I understand and use the Send to Tape feature of FCP, but it doesn't modify the project file to correspond to the newly recorded footage that is "Sent". Or does it? Please correct me if there is a way to do this. It apparently doesn't back output on autopilot the way I'm suggesting.
Why not just take large projects offline the old fashioned way?
Many times I have to rent Digibeta decks to capture film transfer footage. This costs costs $400+ each time I need to bring footage back online. I would love to just archive the material out to inexpensive miniDV which is high enough quality for 95% of my work since I rarely ever do color keying.
Also, leaving the footage online is getting to be very hard to manage. Since I like to keep my outtakes for future versions, most of my projects are far too large when collected to fit on DVD-R or even Dual Layer. Furthermore, I've had a few drives go bad recently and it's becoming clear to me that online storage isn't really a sustainable workflow for me.
Any thoughts? I really want to hear from you on this one.

The loss in quality is really not visible with 16mm footage which is my most common stock used. In fact, I have Varicam 24P footage that looks stunning mastered to DV-25.
I would suggest that if an editor was planning on advanced keying or rotoscoping the advantages of 4:2:2 would become apparent. But for TV commerical broadcast and DVD distribution, the quality difference is not very apparent at all. I make TV commercials.
Also, if I print a master to miniDV then dub the miniDV over SDI to Digibeta for broadcast distribution the quality is actually better than miniDV alone. This process actually adds chroma smoothing to the DV's 4:1:1 color space, making it look very, very clean.
I personally think that DV-25 has gotten a bit of a bad name due to the quality of the cameras that use the format, rather than the actual merits of the format itself. Varicam 24P footage looks great downsampled to dv-25, much better than XL-1 footage does for instance. If one notices jaggies in FCP, just activate the 4:1:1 color smoothing filter and walla! The footage looks just like 4:2:2 to the naked eye.
Of course, this is only my opinion.
Alas, with very small text I do get luminance jaggies, presumably from the 1:7 compression, but the workflow I'm describing in this tread would be for source footage, mostly devoid of small text which is added in the FCP project.

Thoroughly Disgusted Long Time Loser with Adobe Premiere

Adobe has FAILED! I have been up and down with Premiere. I've been thrown around and with every twist and turn stuck with the hope that Adobe would eventually get it right. For every improvement there is an equal failure. and an expensive upgrade needed to fix it. Trade an emprovement for a train wreck. When will management learn that users mattter. Marketing sells the latest and greatest. I lived with the reality that over 10 years Premiere is still unstable. It works on one system and another crashes and burns. As BT Barnum so eloquently stated "there's a sucker born every day." Right now , I've been through to many years of convoluted Adobe updates expensive upgrades and FAILURES that I've become the SUCKER. (Sucker, a bottom feeding fish found in the Midwest waterways)
There is an absolute need to find configurations that WORK! Then support them. The BS system of trial and error and expecting user to become Adobe Ginny Pigs must end NOW!

Thanks to Matrox tech support, I have a smooth running HD workflow.
The problems with my laptop could have been avoided if Adobe had a clean upgrade path. I was upgrading software from Procuction Premium CS4, 32bit Vista to 64 bit Windows 7 and CS5.5. I discussed this upgrade with Adobe and Matrox, I have the MX02. The MX02 did not have the CS5.5 drivers ready untill a few months after CS5.5 was released. I wanted to know if I should wait for the CS5.5 Matrox drivers to upgrade. Both Adobe and Matrox said It would be possible to use CS4 on Windows 7 OS to be compatiple with the MX02 CS4 drivers then load CS5.5 when the drivers were released.
What they did not say that this would cause many problems. They also did not say that uninstlling CS4 completly is NOT possible using the Adobe cleaner tool. After using the cleaner tool I was able to open CS4 programs and repeted unistall attempts did not work, Adobe tech support emailed a list of files to manually delete then reinstall CS5.5. I little better. The CS4 programs were gone but BSOD and system freezes were regularly accuring. It appears there may have been several complication caused by the CS4 never being completely removed despite using the cleaner tools and manual removal recommended by Adobe's tech support. Matrox tech support took the time to look at all the settings and cleared out unwanted files. The BSOD and Premiere freezing finally stopped.
This portable workflow is capable of live HD Capture of Matrox 1080p MPEG2 over SDI with live ouput from the MX02 to a HDMI monitor. The video is pristine and can be captured on a single external 1394a drive. It is better than the excellent quality using the 1080p MPEG4 to the memory cards route.
The laptop has an SD card slot so I can view the clips captured on the EX1 in the Sony Clip Browser. The Sony browser has a fast workflow for reviewing, labeling and copying to a mirrored 2 drive raid for safe keeping and transport to the edit suite. Importing clips into Premiere they can be seen on a HDMI monitor. Rough cuts can be created and transcoded faster than realtime to h.264 for distibution with the MX02 with MAX.
That's as much as I need on a shoot but having SDI compatiple with OnLocation would help.

Help! Frames Dropped During Live Capture

I am trying to switch over to Adobe Premiere from Final Cut Pro, but am having a serious problem with frames being dropped during capture. When I do have frames dropped, it doesn't even save the video that it was capturing. All that I get is a corrupt file that won't open.
I'm using a Mac Pro with 3.0Ghz Dual Core Xeon Processor, 9GB 667MHz RAM, and a BlackMagic Decklink SDI card, and am trying to capture 720p 59.94fps video over SDI. I am capturing to an interal 1TB 7200RPM dedicated scratch disk that is not used for ANTYHING but live capture. The OS is 10.6.8.
I only have 3 capture options in Premiere using the Blackmagic card: 8-bit, 10-bit or DVCHDPRO. I want to use 8-bit, because DVCHDPRO is 960x720 instead of 1280x720. But, I have tried DVCHDPRO and it did not work either. I can successfully capture video for 5-10 minutes, but then I always get the Warning that frames were dropped and Premiere fails to save the video properly so that it can be opened.
I have used BlackMagic's speed test app and determined that my internal hard drive's data rate is plenty sufficient for both 8-bit and DVCHDPRO.
Final Cut Pro 6 has always captured perfectly fine using this exact setup. It even gives me a lot more capture options for the BlackMagic card - I'm not sure why I'm limited to only those 3 capture settings in Premiere.
I would really appreciate some help to point me in the right direction to get this resolve. Thanks!

Randal,
It might be a bit tough on a fast computer, especially if the BIOS are not set to show POST at boot-up, a common setting nowadays. As Steve says, the exact key will differ by your BIOS brand.
You may not actually see the particular logo screen, that Steve is talking about. I'd do a cold-boot and immediately tap the ESC key. If this does not get you into your BIOS Setup, then repeat, but tap the F1 key. When I say "immediately," I mean immediately upon hitting the Power On button.
With older computers, you had about 5 sec. to get into Setup, but not anymore. On my laptop, I still have trouble hitting the F8 key fast enough to boot Windows into Safe Mode. I miss it, more than I get it. Could also be that I've been away from gaming for too many decades, and my gunfighter reflexes ain't what they used to be, but I'll just blame it on faster computers. I have the same problem with trying to flush my Preferences in Adobe programs, gotta' hit the Shift-Ctrl-Alt key at precisely the right time. [Exact key combo does differ with some Adobe programs]
Also, if you can give us the name of your BIOS, say "Award," we might be able to give the exact key to hit for Setup. If you have the MoBo manual, it will be in there, plus the correct key. You still have to be quick, however.
Good luck,
Hunt

Clarification on Scene Detect?

I can't find any clarification on what all connections enable Scene Detect to work. Is it only via Firewire (IEEE 1394) with the HDV/DV formats, or will it work through SDI/HD-SDI? In my particular case, I'd like to connect my Sony DSR-1500A DVCAM deck via its add-on SDI board to the HD-SDI input on a Blackmagic Design DeckLink Studio card. (We don't have that SDI board for the Sony decks yet; right now we're using analog component connections because the Blackmagic card, when installed, disables the use of the computer's built-in Firewire for capture/output. Obviously there is no Scene Detect with analog connections.) Computer platform is Windows 7 64-bit Edition. Blackmagic Design had no definitive answer for me, and said for me to contact Adobe.

Harm,
Thank you. My reasons for wanting to go with SDI are not really related to a quality increase (or perceived quality increase); it's more from a practical connection standpoint. Since Firewire/IEEE-1394 is not supported by the BM card, and the analog component connection takes away video monitoring capability on the Sony DSR-1500A deck -- there are exactly 3 BNC connections for output, configured in the menu for either component, Y/C, or composite, but not simultaneously -- the only remaining option is SDI, which is widely regarded as the professional way to connect digital components anyway.
Dale
Dale Cornibe
Electronic Media/Video Producer
Travis County Media Services/TCTV-17
314 W. 11th St., Suite 140
Austin, TX 78701
Office: (512) 854-4491
Mobile: (512) 674-5985
Fax: (512) 854-4560
Email: [email protected]
Web: www.traviscountytv.org
>>> Harm Millaard <[email protected]> 5/18/2011 4:18 PM >>>
If the deck outputs the date/timestamp over SDI, it may be possible to use scenedetection if BM supports that, but chances are that since it is already on tape and compression has already taken place, there is no benefit at all from using SDI. You are maybe better off with regular capturing, since the signal has been compressed and nothing will get that back to better quality. SDI is great for live recording, but once recorded on tape, you are out of luck.

Problems removing Advanced Pulldown frames

I'm relatively new to 24PA, until now, I have captured quite a few projects now without any problems. The footage is always shot DVCPRO 50, I use the Panasonic AJ-SD93 Deck to capture the footage, selecting "remove advanced pulldown frames" in the FCP capture settings, and end up with great 23.98 progressive advanced footage.
The most recent project I've been working on, we received tapes that were shot by the same production group, same settings, same camera, and I was capturing with the same deck, same FCP settings, etc...however, after capturing, the files were not 23.98, but 29.97 (as a test, I captured from tapes in a previous project, it immediately came in as 23.98).
I tried to solve the issue after the fact by selecting the "Remove Advanced Pulldown" selection in the tool menu and received the error message *"File does not contain frames encoded using Advanced Pulldown".*
The 29.97 footage, based on my knowledge, seemed to indicate that it was, in fact, 24PA. For two reasons, one - every fifth frame in the 29.97 footage was a "split" frame, and two, breaking the footage down into fields, it seemed to have the 2-3-3-2 cadence associated with 24PA. However, for whatever reason, Final Cut could not find the cadence.
Why might this be?
I'd appreciate any informed opinions, but I can say that my guess is it has something to do with timecode and timecode breaks. The footage had an awful lot of timecode breaks and the timecode was being forced. I am wondering if this has something to do with why FCP could not pick up the cadence in the footage. (The only other variable that changed from previous successful 24PA projects is that these tapes were dubbed, and perhaps the dub house - which has shown itself prone to the occasional mistake - messed something up, but in this instance, don't see any evidence of that.)
Ultimately - I worked around the issue just fine, but it only makes matters more confusing, I brought the footage into Cinema Tools and did a Reverse Telecine (3:2 pulldown) and the footage turned it into clean-looking 23.98 progressive footage. Like I said before, analyzing the footage appeared to reveal that it was certainly 24PA with a 2-3-3-2 cadence and not 24P with a 2-3-2-3 cadence.
Any thoughts are welcome, thanks -

Just a thought: if the dub house made the dubs over SDI or analog, then the 24PA "flags" that were on the originals were likely not retained. That may be why FCP isn't seeing the pulldown cadence. I believe the only way to retain those advanced pulldown flags is to dub via firewire.
You can try capturing at 29.97 and running the files through Cinema Tools. Or see if the production company can send you the camera originals.
Jay

Ingest over SDI

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