Mixed digital / film workflow

Hi,
Can anybody tell me how useful Aperture is for managing non-digital capture files ? About half my work is still on film, and so is a lot of my archive. I understand that Aperture supports TIFFs as master files, but the question is, how does it deal with big files ? Some of my 16-bit scans are over 300Mb, and I'm not sure how well Aperture could cope with this. Anybody else doing this ?
Thanks
David

David,
I am using a hybrid film-scan and digicam workflow with Aperture. It works fine.
In January I shot 4300 frames of B+W film. I had them all scanned on a Fuji Frontier for editing purposes and low-res scans. I have since had about 150 selects drum-scanned or scanned on my Imacon. I put the hi-res scans into Stacks with the lo-res Frontier scans. There was a problem in v1.1 with scans over 500MB. That seems to be fixed in v1.1.1.
There are some problems. The open in External Editor command converts everything to Adobe 1998 RGB. You have to work around this by using the Export Master command. I made two Automator workflows to help with that when I export fom Aperture into an "open in Photoshop" folder the files are automatically opened in Photoshop and then moved to the trash.
When I hit save in Photoshop it won't do it (since the file is now in the trash) so it automatically does a "Save As" and I save to an "Import to Aperture" folder that automatically imiports the image back into Aperture.
It sounds worse than it is in practice--which is very easy. I put up a posting a week ago describing the process.

Similar Messages

24 fps Film Workflow in FCP

Hello all,
I'm planning out a film workflow for a feature-length motion picture I plan to edit with my Final Cut Pro setup.
The equipment is as follow:
Mac Pro Quad 2.66 GHz
5 GBs RAM
6 TB Cal Digit RAID
Kona LHe capture card
The stock will originate on 35mm and there is a chance that this will go back to film to have the negative reconformed (pending purchase by a studio and/or distributor). However, the initial plan is to master to HDCAM SR and do a Digital Intermediate.
Ideally, I'd like to stay in 24p (23.98) for offline.
One plan for offline includes getting all dailies transferred via telecine at one-light to DVCAM, then digitize and doing the reverse telecine in Cinema Tools, then correcting for the timecode variance, then doing offline in SD in a 23.98 project.
Would it time-saving (I know not cost-effective) to get all the dailies telecined at one-light to DVCPRO HD tapes at 24p, then digitizing into the system at 24p, and eliminating the whole "reverse telecine" process.
Is this the only way to ensure that offline and online media originates on 24p and stays that way? I want to stay away from conversion as much as possible.
Thanks in advance!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA

Of course Keycodes...I planned on this from the beginning. However, for your recommended method, I don't see why we'd have to have our 1-light transfers to HDCAM SR 4:4:4...wouldn't it make more sense to transfer directly to DVCPRO HD tapes, dig them into the FCP station (we'll rent a deck and tri-sync) and cut, then pull our selects from keycodes for an HDCAM SR 4:4:4 master for the final format.
Ok, you really don't need to transfer as 1-Light, have the colorist make a full color correction. The only reason why I mentioned 1-Light was for reducing the time in the transfer suite. You still be have to do Tape-to-Tape Color Correction and they can do some pretty amazing stuff that you won't be able to do in the dailies and vice-versa (Go with a DaVinci System or EQ or Pablo).
The only reason why I don't recomend the whole transfer to DVCPro and the re-transfer to HDCam SR is because you can get the DVCPro quality from the 4:4:4 Master (Just digitize straight from the HDCam SR master with a DVCPro codec). You save the 2nd Re-Transfer time, the Dubs to DVCPro, the DVCPro Tapes and you same TIME. Remeber that they still have to re-clean the film, spend time loading to the telecine, and problems that are going to arise due to a re-transfer like possible scratches, lab dirt, chemical spots, film tears, etc. And these DO happen).
*Also, if you're also editing your way, and matching back to you keykode for selects, you won't be able to do it in Final Cut. I checked today and this option is only available for Avids. *
Since it's a 1-light transfer, is it really taking advantage of the HDCAM SR's 4:4:4 color space bandwidth? Why not go directly to DVCPRO HD if it's only going to be 1-light...
Again, don't do a one light. If you can afford it have the colorist do their best. Yes, if you are going 4:4:4 might as well go all the way. Regarding the DVCPro, see above.
I'm not sure our budget will allow for an HDCAM SR 4:4:4 transfer of our dailies. Is there typically a price difference between transfering on different HD tapes formats? HDCAM SR seems like it'd be more expensive than DVCPRO HD. If there is no price difference than I can see your point...but how good would it look at only 1-light (albeit w/ video color-correction).
HDCam SR 4:4:4 is expensive. Next best thing would be HDCam SR 4:2:2, followed by HDCam and finally DVCPro HD. Lately, DVCPro and HDCam are going about the same rate for transfers. If you have a good Post Supervisor he/she can probably sweet talk the post house for a HDCam SR deal. DVCPro HD has a compression of about 15:1, HDCam is 7:1, HDcam SR is 3:1 and SR 4:4:4 is 1:1. (It varies from source to source, these are only approximates) If you're doing a Film-Out, the higher quality, the better the Film-Out.
Oh, and one more thing... a friend of mine, after choosing his selects from the final format of his feature, had the HDCAM select reel made with a 3-light transfer, BUT, also had a downconvert made with Keycode and Timecode burn-in to help with the reconform...if the keycode stuff failed to match...it seems to help him a lot. Any merit to this method?
This is how you re-conform your offline. The whole DVCam dub thing is a given, is part of the method. You have DVcam dubs made (with keykode and timecode burns), you digitize this new material with its respective list and then you match the keykode from the dailies, to the keykode from the selects and bring in your new timecode from the new "selects" masters so that your sequence/EDL (and therefore online) will have matching timecode (the timecode from the original dailies will be useless). (*This system is only available on AVID as far as I know*). Again, this is where keeping track of keykode is super important and you will encounter problems.
In my humble opinion, most of this stuff is for the Post Supervisor to figure out with the Editor and the Post-House. I have talked to post supers that have gone this method and you would not believe how confident they were the 1st week and totally lost it after the 4th week. I have seen shows that have gone through 4 or 5 assistant editors and had to hire a 2nd editor to help with the problems that came up. I have worked on this kind of shows many times and that's why I HIGHLY discourage it.
If you (or someone else) wants to know more, feel free to contact me and I can go into details and help you figure out a workflow that will save you TIME and a lot of headaches and a tiny bit of money. My email is in my profile and feel free to contact me, I won't bite! At first...

Connecting to digital film (CD cards)

Is there an adaptor that allows me to connect digital film for uploading directly to my iPod? If so, what is the connection speed? I'm planning on taking a very long trip with a pro digital camera and will need to be storing at least 1GB of photos each day. I was thinking of a notebook computer, but it also occured to me that the iPod would be much handier.

I am reposting this question to bring it back to the front of the que.

Quick Tips For Speed Your Digital Publishing WorkFlow

I think that we have a great problem with our Digital Publishing Workflow's speed . I talk about, for example, of set up State Objets Sliedshows for multiple page, and I mean, there are another similar examples about that. Do you know if does exist more tips for speed our workflow in InDesign for Digital Publishing Output?
Thanks a lot!
Sorry for my bad english.
Bye!
Marco Toscano

Muito abrigado my friend! Seriously thanks a million, but I was curious to know about my situation regarding replacing my first shot multiple times... In another words there's a clip already in the storyline which won't allow me to replace edit since it just moves out of the way. Would you just go back into the browser and add the original selection to the first clip? Because I kept having to move my connected music and solid I just gave up and would wait until the end to add the music and solid (I add the solid to give the background a different color when I want to create the letterbox effect).
I just watched a music video tutorial where someone created a 3 minute solid, made like a hundred cuts with the blade tool and manually dragged each clip from his browser to replace from start for each of those cuts in the solid...
What is your workflow for music-based edits? Do you place the song in the primary story line and use the video as connected clips? Do you use a solid or gap clip and dissect it with cuts and replace the segments with clips? I really hate not being able to add markers to the timeline and must make those marks on a clip/generator/music track of some kind. Also if you have a project that has the same settings with fps, crop size, solid as a background is there a way to make template so I don't have to do that each and every time?
Thanks again my friend!!!
Anthony

Reference monitor for digital cinema workflow

We use the Digital cinema workflow to create 2K title sequences for theatres. We plan to ad a 2K reference monitor into our workflow. The problem is that the video-out path for preview on reference monitors is not color-managed.
Is there a way to see a correct image on a referrence monitor in adjusting the monitor with LUTs?
Where can I find the needed LUTs?
Which monitor do You recommend?
I use After Effects CS3, Mac OSX 10.5.5, 2x2,8 Ghz Quad-Core Intel Xenon, 6GB RAM, Blackmagic HDExtreme2, Grafic card ATI Radeon HD 2600 XT

I'm trying to find out much the same thing. I would assume that anyone knows the answers can help both of us.
I'm purchasing a new Mac Pro desktop. I also use final cut but not after effects.
I actually have 4 monitors to choose from. 2 Dell 19" - One 27" Apple cinema display and a spector High Def 1080i monitor that has a DVI input.
I would like to use one of the Dell's as my primary home desk top monitors with folders and all the usual dock and stuff. I would like to use the cinema display as my primary final cut work surface.
I would like to use the HD monitor to show HD footage and use it as a client monitor. Remember it has a DVI input.
I've talked with the folks at the Local Apple store and they are not sure if I will get a real HD signal on the HD monitor if I add a second radeon 2700 card to the computer and take on of those DVI outputs and attach it to the HD monitor.
If thats not possible can I use the apple cinema display as my playback monitor?
Or do I have to go with a conversion box like a mxo, AJA board, or decklink box.
The goal is to have two monitors for the program and One monitor in HD for the client monitor,
Thanks everyone in advance.
Rich

FCP & Digital Film Tools - Composite Suite plug-ins

Hi, and thanks in advance to anyone that answers to this thread. I am looking for any kind of feedback from users of FCP & Digital Film Tools - Composite suite of plug-ins. My company is looking into the purchase of the suite and we are interested in anyone's past or current experiences using the poroduct.
Thanks again,
Michael
G5 dual 1.8 Mac OS X (10.3.9)

DFT Ozone is pretty interesting to an old darkroom guy like me. It allows one to make adjustments based on tonal zones- think Zone System.
DFT Light throws different light sources into a scene like window, door etc or you can customize it. Pretty cool, but I don't know how much I'd use it.
I couldn't really get my head around DFT Power Stroke in the few minutes I spent. It's less intuitive than the other 2 DFT filters.
The Tiffen filters are more like Cokin filters, but the Grain simulator is interesting on monochromes. In color, it just looks like noise to me.
I checked out all 4 in demo mode, and I didn't read anything. I just played, and only gave about 5 minutes to each plug-in.
DLS

Does anybody know when the InDesign Digital Magazine Workflow is coming out?

Does anybody know when the InDesign Digital Magazine Workflow is coming out?
It was suppose to happen at the end of this summer, but no sign of it....

its going to take a while b/c it has to back up the whole ipod

Film workflow advice

Hello,
I need some workflow advice for a feature film and I would really appreciate some input and technical expertise. I am working with telecined footage from 16mm film and I need to perform reverse telecine with Cinematools so that I can edit the footage in Final cut. My end format will be a 35mm blow up from my original 16mm negative, so I need Cinematools to track my footage correctly so that I can later export a cut list for the negative cutter.
My digital footage is SD and is on DV cam tapes. The lab used a telecine speed of 23.98 when they transferred the footage. The lab provided flex files which I used to create a cinema tools database and to batch capture all of the footage.
First, I need to confirm that the footage was captured correctly.
To capture I used the FCP preset: DV NTSC 48 kHz (29.97 fps DV-NTSC Best Quality 720x480)
I did not use the FCP capture preset "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal" because my understanding is that this preset is designed to remove pulldown during capture when used with external hardware designed to remove pulldown during capture, correct? In this case I will be removing the pulldown with Cinema Tools instead.
I also am assuming that setting the capture fps to 23.98 would have been wrong because my footage is coming from DV Cam tapes, which can only be 29.97, right? So even though the telecine speed was 23.98, the footage needs to be captured at 29.97 and then processed with Cinematools to make it 23.98 or 24 fps, correct?
Second, I need to know if my goal should be to make my footage 23.98 or 24 fps with Cinematools. If my end goal is to export an EDL for a negative cutter to go back to my 16mm footage to cut from, should I edit at 24 fps? I think the answer is yes, but then I am worried that my telecine was done at a speed of 23.98. My audio was recorded at 30 fps - though my understanding is that the fps of the audio doesn't matter since audio is recorded in time and not frames. However, I did read in the Cinematools manual that if the footage is 23.98 as opposed to 24 fps, then it means that my footage is going to playback at a slightly slower rate, thereby affecting audio sync. If that is true, will I have to slow my audio slightly to maintain sync? This doesn't seem ideal.
Third, I am having trouble when I do a reverse telecine test with Cinematools on my footage. I am looking at burned-in key code and film frame numbers in my footage and observing that when I advance through my footage frame by frame in FCP, the film frame numbers of every frame are perfectly clear and legible (they advance thus: A2, B2, C1, D1, D3). However, when I view a clip in Cinematools (pre-reverse telecine), the frame numbers are blurred and have interframe flicker (the interlacing field pattern). The same is true after I perform reverse telecine on the clip. The cinemtools manual mentions this as something to be avoided in a clip that has been reverse telecined (in "Checking you Reverse Telecine Results on page 132) - however I see this problem in clips that I have not yet reverse telecined.
I am worried because another person worked with this footage before me and I fear that they performed reverse telecine on the footage already (and incorrectly) and directed Cinematools to overwrite the original file instead of creating a new one. If this is true then I would have to start over and recapture everything. On the other hand, it seems like if that were the case I would see the problem in FCP as well. Is there a way that I can tell for sure?
Thank you so much in advance for any advice you can give me! I really appreciate it.

Thanks Jim. The project is sort of like an "extended music video".
So it is a record, 45 minutes long and then using that as a guide,
we shot the footage. Its not gonna be just lipsyncing all the time, but
there will be other things inserted there as well.
It is just the workflow that bothers me and mainly:
1 Should I convert HDV material after capturing with prores 422 or stay in native
2 When should I convert from PAL to NTSC?
3 Should I s t a r t, by importing the 5.1 surround mixes to FCP6 and then work
with that as a guide?
I´ve done some music videos before, but this is more like a music movie and
will be sold as a sales DVD.
I would appreciate any help you guys can give.
Thank you, timo

Film Workflow

Can I ask one of the resident experts to give me a brief primer on working with film in FCP? Questions:
* What types of variables are there in getting the film transferred to digi-beta?
* How do I digitize the resultant digi-beta footage? (are there particular settings I should be looking at?)
* Do I edit as normal once the footage is in?
* Is there anything special I need to know about the process of exporting an EDL?
* Is it as simple as providing the EDL to the post-house that will transfer back to video?
* What questions am I not asking that I need to be aware of?
THANKS VERY MUCH FOR ANY ASSISTANCE, IT IS GREATLY APPRECIATED!

Can I ask one of the resident experts to give me a brief primer on working with film in FCP? Questions:< </div>
Only ONE of us? No. You post, the post is free for the taking.
* What types of variables are there in getting the film transferred to digi-beta? < </div>
This question has no answer except YES. What ISO/size/frame rate/positive/negative/Kodak/Fuji of film and how much will you be spending on the competency transfer? What is your release media? Film or digital?
* How do I digitize the resultant digi-beta footage? (are there particular settings I should be looking at?)< </div>
You need a capture mechanism of some kind: card or encoder that suits your production format. How much rez do you need? How big a Mac you workin' worth? You don't need the DigiB footage online unless you need to release back to the DB. You can use DV or any other less intensive video format for your offline.
* Do I edit as normal once the footage is in?< </div>
Lord, "normal" is totally subjective. Do you mean like you'd cut film or how you'd cut video? Yes and no. No and yes.
* Is there anything special I need to know about the process of exporting an EDL?< </div>
Yes. The FCP manual has extensive coverage of EDL formats and compatibility. There are as many answers as there are post production workflows. It's tricky and fraught with gotchas but it's easy if you have all fo the tools in place for your specific needs and have time to practice.
* Is it as simple as providing the EDL to the post-house that will transfer back to video? <</div>
Not at all. Nothing about working on film in video and then going to film or to an third party for online is easy.
* What questions am I not asking that I need to be aware of?
<
That's funny. Run to the NAB or American Cinematographer stores and start buying books. Hit a million indie film production Web sites.
lafcpu.org has alots of film producers on it but, listen, do not go around posting this same list of silly questions everywhere. Do some research and search those forums first. You are NOT the first person to have these thoughts.
Get thick skin because there's so much you obviously do not know that some of us will insist on having some fun with you. It's not personal, you 've simply provided the incentive or the excuse.
bogiesan

Digital signing workflow

hey!
i'm setting a file and envoronment for digital signing of a particular form, reading a lot literature related to digital ID, but still have few questions:
1. When the first signer certifies, by this he approves the contents of the file.. what about in the end of workflow, can he lock the document when signed and agreed from everyone?
2. Digital ID: it consist of certificate+private key.. I'll make each participant his/her own Digital ID. Please tell me if my method is correct:
- Advanced --> Security Settings --> Add ID --> new ID --> New PKCS#12 digital ID file (to password protect it) --> personal data --> finish
Now I have ID including the private key, right? (according to the icon with key on it)
- If i export the ID, I get the Exchange Certificate which all participants should install each others into trusted root so the file doesn't prompt them as unknown all the time, right?
The private key stays in Digital ID, right?
- When I send anyone his/her Digital ID with security protected private key in it, he/she shall install it via Advanced --> Security settings --> add ID, right?
(not by clicking on it, because by clicking on it the digital ID installs into Windows Certificate Store)
I need password protected IDs.
3. Can i limit each signer to sign only his/her signature field? (if anyone accidently deletes anything)
4. When in the middle of filling-in of a dynamic form workflow (and signing the form) someone doesn't agree and changes something that's already
filled-in, then the signatures previous to the change don't apply any more (because the signers were signing and confirming the data applied until that particular time in a workflow). What to do in this case? Send the form back into workflow from beginning and ask the participants to delete their own signature and sign again?
thanks for you help in advance, appreciate it.
bye.

Hi Nathan,
When you add a comment to an online review, you aren’t really changing the PDF file that is sitting on the review server. Comments (any annotation is a comment) live on a separate layer and can be added over the existing PDF without changing the underlying PDF. They are store in a separate data base independent of the PDF file.
Digital Signatures on the other hand require the PDF be modified as part of the signing process. Acrobat (or Reader) has to go into the PDF and build a hole for the signature. Browser based reviews can’t handle that operation. If you allow someone to write to the PDF on the server it opens a security vulnerability, and you also have the problem that occurs is two people are trying to write at the same time it would corrupt the file.
The bottom line is you cannot sign a PDF as part of a browser based review. If you have ever signed a file in the browser, what you’ve really done is create a local copy in the temp store and sign that. You might have noticed that if you don’t save the file (there is a flaw in the UI workflow that you are not prompted to save a part of the browser signing experience) then when you go back to view it online ther is no signature. When you do save, all that is happening is you are copying the local temp file to a location and name of your choosing.
Steve

Best way to export my DV and HDV mixed footage film

here's a tricky one
I have a 9 minute film, shot on dv-pal, still photography and some parts on HDV progressive.
I have finished editing but can't find a way to have a good to screen film. The problem is the fields, and they appear for some reason when I export the film, either uncompressed or dv-pal quality. The exported finished product is full of "lines" that downgrade my picture quality a lot.
I tried two ways
I edited the whole thing on a DV sequence. The still photographs and the HDV material was scaled down to fit the size of the DV footage which consist most of the film. But the finished export either uncompressed either when exporting using Compressor is ****.
I am now trying to adjust all the footage on an HDV sequence...
any help or opinions offered is very much welcomed
thank you all in advance, will see your replies in a few hours

Have you actually watched your film on a proper monitor, or just your computer display? The reason I ask is I've had footage before, usually interlaced, that looks terrible on my progressive computer display, but once burned onto a DVD and played on an interlaced TV looks gorgeous. If you have an analog->digital converter or even a DV camera you can use that too. Plug that in to your computer and a TV you've got handy and playback your sequence through that and see how it looks. I'm willing to bet that it will look infinitely better on an actual TV set.
-Brian

X-Fi Platinum and mixed digital

Hello,
i have x-fi platinum and dtt 2500 speakers which are 5. dolby digital speakers while used through spdif out and 4 channels when used through analog outputs, in speakers panel i have 4/4. speakers configuration.
i have two problems:
. when i am using speakers with digitall output without dd or dts sound output is mixed exactly in two channel:
front left with rear left and front right with rear right
in my last music card audigy 2 zs i had only front channels in digital output in the same configuration!!
2.i want to decode Dolby Digital by external amplifier and DTS by X-fi.
in entertainment mode there are two different menus for each standard but it is not possible to change options like i want because switching something in anyone menu switches the same options in second menu
how can i pass this problems?

I know some Line 6/Variax's include a DI box with balanced XLR out... if yours does include this, just make sure its inabled - if it DOESNT include a DI pass, you may have to purchase one. This solved my problem (acoustic/electric guitars), which produced scratchy, dull output similar to yours.
I wouldnt spend too much on it though. Something like this would do. : http://www.americanmusical.com/item--i-BEH-GI00--s-di-box.html
Best luck.

Film Workflow w/ FCP & Cinema Tools

I am cutting a feature shot on film for the first time and have a workflow question. Apologies if this post has been done to death and feel free to send a link to another post or site.
The film is being shot in 2 perf 35mm. It is going to the post house to be transferred to HDSR for effects. We are being given DVCAM tapes with burnt in timecode at 29.97 for offline editing. We will then give them an EDL at the end for online.
So what's next?
If I capture the DVCam tapes at 29.97, I then have to conform in CinemaTools right? This is where I'm unsure, as I am not familiar with the program.
Any info on the steps would be VERY much appreciated. Cheers in advance!

BTW - That "read the cinema tools" response was both unhelpful and trite.
Your question deals with workflow, however, something confuses me.
If the feature was shot on 35mm, Telecine to HD-CAM SR and then downconverted to SD DV-CAM, I really doubt it is 29.97 w/ burned timecode.
Usually people shoot 24 when shooting film.
If that is the case then:
1) Your HD-CAM SR is 23.98
2) Your DVCAM is 29.97 with 23.98 Timecode burn in.
If you need to deliver an EDL for offline then your EDL will be worthless if your cutting in 29.97. The timecodes won't match.
So, the easiest thing (if an option) is to get the HD-CAM SR and get a Pro-Res file of that at 23.98. That could be converted down to whatever format you need for editing and wouldn't require removing pulldown. It will also give you a perfect EDL because it was taken from the master.
The second way, is to go the route you already have in mind.
1) Capture DVCAM at 29.97 and
2) remove 3:2 pulldown before you start editing.
There are many pitfalls with this method but atleast you have the burn-in to use as reference if you stray off course (meaning, you remove pulldown incorrectly).
Here are some methods:
A) track down After Effects. It has a function called Inerpret Footage. This will guess your pulldown and create new native media. This is my preferred method.
B) Use Cinema Tools. You should export a small segment of your footage and test removing the pulldown. Most don't get it right without determining the I-Frame.
C) Use Compressor's frame controls to remove your pulldown. This method (in my mind) is the sloppies of the bunch. It provides errors around cadence breaks... some people will disagree.
Either way, you'll need to treat that DVCAM footage before you start editing. Otherwise, you'll have to hand write your EDL if you cut in NTSC (29.97).
Hope this helps.

Mixed comments in workflow attachments...

Hello all,
One of our customers has a strange problem when trying to display an attachment (SOFM-DISPLAY) in workflow.
After importing a support pack last weekend the workflow always shows the last comment added by someone in the system. So let's say for example that John added a comment in a workflow. And 5 seconds later Marie wants to read the comment of a whole different workflow, she sees John's comments!
I have looked in the Forum and OSS notes, but couldnt find any lead at all. I dont know which support packs were uploaded axactly (sorry for the limited info) but Im just posting this question to see if someone has encountered a similar problem like this before. Maybe somekind of memory problem?
Thanks & regards,
Erik

Hi,
Its a bit strange to hear this !!. However are you really sure these two are totally different workflows.
Can you please check the AttachObjects container element in workflow log and find out the SOFM key in runtime in both workflows that you are talking. Is it the same?
Regards
Krishna Mohan

Mix digital out and out in one task

Hello,
is it possible to create a task that can be used for PWM output and setting of digitals outputs at the same time?
I have a NI-USB 6210 that provides two counters and additional digital outputs.
I have already implemented some code that generates PWM signals on both counters.
At all, I have created one task, containing both counters and I am able to set the duty cycle by using DAQmxWriteCtrFreq.
Now, I also want to write the digital outputs.
I first tried to create a second task that handles the outputs, but I got an error (sorry, forgot the error number) that says that the task can not be created because the digital output resource is already in use (by the PWM task).
Therefore, I think that I have to add the digital output channels to my PWM task, so that there is only one task that handles all my digital signals (counter and bits).
Am I right here or not?
Furthermore, if I am right, how can I set the digital outputs?
Maybe DAQmxWriteDigitalLines is the correct line but how can I tell this function, which channels should be set?
Any help is appreciated.
Thank you.
Christian

Hi CristianEC,
i think the error number was -200022, because the PFI lines for the two PWM counter look all your digital ports.
You can see this if you look on into the pinout for your device. You need an device with some additional digital ports.
best regards
Alexander Glasner
AE NIE

Mixed digital / film workflow

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