Realtime DV downconvert for DVCPROHD!

I didn't see this mentioned anywhere in the product literature or new feature listings (my apologies if it's there), but I discovered something cool in CS4 last night.
While working in a DVCPROHD 720/24p sequence, I was able to set the Playback Settings > External Device to "DV: 23.976 720x480p". This enabled a realtime (with the typical DV delay, of course) preview on my external monitor, routed through a cheap miniDV camcorder. Granted, it's a downconverted DV preview, and maybe not perfect for critical color correction, but it's a cheap and easy way to set up a client monitor.
I haven't tested this with any other sequence presets, but I suspect it will work for just about any of them.
EDIT: This appears to work for any preset; it'll match the framerate of the DV stream to the framerate of the sequence. Doesn't seem to care about the video format, either.
I thought maybe this was something in CS3 that I missed, but I just checked and it isn't there. Very nice.

If you have to render, your sequence settings do not match your material.
Look at the clip settings then alter your sequence to match.
As an alternative, if the DV is basic DV-PAL, create a new sequence using the appropriate EASY SETUP and drop your clip in that. You shouldn't need to render for a single stream of DV.
cheers,
x
society of the dilletanti Mac OS X (10.4.9) Carpe Cerevisi (seize the beer)

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Downconverting form DVCProHD to SD ?

Dear fellows
I own a small production company and recently bought a HVX200, to go into the HD world....I also got me the Firestore FS100 wich is a little wonderful piece of machinery, workflow is fine in FCP 5.1.2 I am very happy with results, have no problems whatsoever.
My question..
is it possible to downconvert from DVCPROHD to SD and in order to deliver to clients ?
if so where ? Compressor ?
would the apect ratio be 16:9 ?
is it possible to deliver from DVCPROHD (of course compress into Mpeg2) to DVDSP and burn a disc?
thanks for your time
it is really appreciated
Jx
Dual 2Ghz Power PC G5 Memory:4 GB FCP 5.1.2, FS-100- 500 GRaid2 - 2 Lacie250Gb, Maxtor 150Gb SATA Mac OS X (10.4.8)

hmmm. some formats of HD are itu-r 709, some are
itu-r 601. standard definition video is itu-r 601.
don't know about you but i've been burned by
improper color space conversion from hd to sd. i
think i would take my video to a dub house and have
it done via teranex and engineers who actually care
about color space.
just my not so humble color opinion.
zeb
Hi Zeb,
BitVice was mentioned in this thread, so I wanted to clarify what all these color spaces mean to those who use BitVice.
The bottom line is that BitVice cannot, and should not, assume any different Y'CbCr color spaces for HD and SD, because it sees only generic RGB images anyway. If you cannot immediately agree, please read on.
What BitVice sees at its input is always generic RGB images, even when downscaling from HD to SD. Therefore, BV doesn't need to bother about which YUV, or YCbCr transforms that your codec uses internally. The quality and properties of the decoded image is up to QuickTime and that codec alone. BitVice only decides about the color conversion from RGB to the Y'CbCr used in the MPEG-2 stream. This conversion is as flawless as it can get and therefore nothing that you would need to worry about, ever.
BitVice honors the codecs' ability to decode its pictures back into the generic RGB format, taking all of its own color schemes into account. (After all, the codec was responsible for converting the stuff into its internal format in the first place. So, who could claim to know any better than the codec itself how to reverse its own actions?) If the codec uses itu-r 709 internally (or whatever) it should know all about that and compensate accordingly when decoding images back into the generic RGB format.
Actually, the whole point of a codec is that it has signed a contract, saying that it is able to reconstruct the original RGB images from its internal representation, whatever that may be. (There is no single standard for this internal, YUV based, representation.) Otherwise, the codec would be completely useless.
Of course the quality of the decoded RGB image may depend on the codec you use. Maybe it is not reasonable to expect the same quality from a $1 codec as from a codec that would cost you $2000. As always, you will only get the quality you are prepared to pay for.
ITU-R 709, ITU-R 601 et. al only describe different ways of converting generic RGB pictures into a Y'CbCr (or YUV based) color space. So, they do not affect how generic RGB images look like. RGB is what your camera can "see" and what your monitor can display. Any other, YUV based, color spaces in between camera and display, are used for the purpose of compression. That is so for both digital and analog compression techniques.
The reason why we chose not to accept any kind of input except RGB is that it would lead us into complete madness. There are no reliable standards to hold on to in that world, so the users would have to pay for a couple of extra programmers constantly keeping up to support ;
-any codec (and we haven't even bothered to count them yet)
-any version of them
-on every OS
-with every QT version
-on every type of CPU.
What a fantastic nightmare that would be. Anyway, it is quite silly enough as it is:-)
Are you concerned about the color conversion to RGB?
Then please think of it this way; "That has to take place anyway, sooner or later". Otherwise we wouldn't be able to view it on a monitor. So there is no disaster involved, as long as it is done properly. Any codec worth its name should be able to do it, basically without any further loss than what it lost when converting from RGB in the first place. So,
- BitVice sees the RGB images as you see them on a calibrated monitor before encoding,
- its RGB-Y'CbCr conversion is flawless, best in the industry,
- and the final Y'CbCr-RGB conversion, done by the settop or DVD player, is hopefully MPEG-2 compliant and there is nothing you can do to improve it.
Roger Andersson / Innobits AB, makers of BitVice MPEG-2 encoder for mac

Compressor for dvcprohd 1080i60 material

hi -
i've just finished editing a sequence in fcp 5.1.4. the settings for the sequence are dvcprohd 1080i60 @ 29.97.
i'm trying to author a dvd using dvd studio pro. i exported the sequence using the dvcprohd 1080i60 compressor. when i open the material in dvd studio pro (whether in the simulator or in the viewer), i notice that there are artifacts.
is this because i am using the wrong compressor? should i be using mpeg 2 to export from fcp? i'm simply trying to author a standard definition dvd at the highest quality possible (it is only a 3 minute sequence) so any help in terms of workflow/compression would be great...
thanks in advance.
paul

Exporting to Compressor from FCP (encoding directly to SD mpeg2) will be the best way to go. There is one more option you can use to ensure the best possible quality:
Since the frame is being resized, you can activate the frame controls in Compressor - setting the resize filter to best will force Compressor to do a smoother job of the image resampling, but it can greatly increase encoding times.

Best RAID software (SATA) for DVCProHD editing

Hi, I am editing DVCProHD footage 1080/24pa and will be doing loads of Shake work with it and some compositing (all green screen stuff).
I have a G5 Dual Core with 4.5 gigs of RAM, Blackmagic Decklink Extreme HD card and I've just purchased two external SATA Seagate Drives (750 gigs each) and a Tempo SATA E4P Serial ATA Host Adapter card. I want to Stripe the drives for editing and I was wondering what was the best software to do that with?
Is it SoftRaid?
If it's Apple's Disk utility, then what are the exact specs to use for this kind of use? (Journaled? RAID block size? etc)

Journaled is really just to help with restoration of System Drives - so no.
Must be OS-Extended though.
Quote from Disk Utility Help:
A video processing application might require fast throughput of large amounts of data, so a larger block size might be best for the set.
Andy
Quad 8GB. 250+500 HDs. G-Raid 1TB. NORTON. FCP 5.1.1. Shake 4.1. Sony HVR Z1E Mac OS X (10.4.7)
"I've taught you all I know, and still you know nothing".
Message was edited by: andynick

Lack of realtime customer service for iTunes Store

I just tried sync'ing my iPod. I was thwarted because I suddenly got a message saying that 590 songs would be taken off my iPod because they were suddenly not authorized unless I entered my password. Note, both my husband & I have iTunes account & we have authorized each other to share our music. Neither of us has had any reason to change our passwords or accounts nor have we bought new iPods requiring authorization.
I am able to access iTunes store over my network well enough to see plenty of advertising of music I don't give a **** about. I want MY music, for which I have already paid, back. But somehow the networks don't work well enough to accomplish that. I cannot, apparently, access my account or my husband's account well enough to authorize music. It's not even clear to me which account iTunes is looking for. I have changed my password twice now -- sometimes iTunes puts up my husband's ID & says I need to enter that password. I can't change his password & he is working so I don't really have the ability to contact him.
I am constantly told that there is an unidentified error at the iTunes store. I have rebooted the computer & exited & restarted my iMac several times.
Basically, I have approximately $600 worth of music that I paid for long ago & which I cannot access. iTunes has no means of putting me in touch with an actual human being to help me figure this out. More appropriately, I want my accounts put back to the way they were as of midnight last night.
That's lousy customer support. I work in a cubicle farm & my iPod is the main way I am able to concentrate. I don't appreciate being screwed over like this.

Neither of us has had any reason to change our passwords or accounts nor have we bought new iPods requiring authorization.
iPods are not authorized or deauthorized.
Computers are authorized to play songs from iTunes accounts.
To authorize your computer, go to iTunes menu Store -> Authorize, then enter the account name and the password.
If for somne reason it's not playing purchased songs, deauthorize the computer and then do it again and then Authorize it.
I am constantly told that there is an unidentified error at the iTunes store. I
When do you see this?

Progressive downconvert for editing

I have an animation that's going out to a Final Cut Pro timeline. The sequence in FCP is DVCPro50 Standard def. The animation I created is HD 1920 x 1080 square pixels, because the project may have to be upconverted in the future. What would be the best settings to render out this animation to this sequence? However, the trick is that I would like to retain a progressive animation, not interlaced.

thank you for your response. I tried your suggestion of converting the project to 16bit and render out as DVCPro50. However, I'm trying to figure a way to properly letterbox the material into Final Cut Pro. But worse than that is I cannot seem to be rid of a judder effect on a particular part of my animation.
I have some text being affected by a camera that is pushing into them. Basically the text is filying toward the viewer in 3D space. At this part of the animation and no where else there is a slight judder on particular parts of the text. The top and bottom of the text is affected most.
Everything seems fine after final render as i play it in quicktime and looks good, but once i put the footage into my DVCPro50 final cut timeline, it gets screwy when viewing it on my video monitor. I'd appreciate any insight.
questions: is this a field issue, pixel aspect?

Where can I get some realtime lab scenarios for Windows Server 2008 R2?

I want to develop my skills in Windows Server 2008 R2, so I need some real time scenarios and solutions. Suggest me some sites for that. So I can learn and practice with real time scenarios. For example: In XXX Company Domain Controller, deploy a File Server
and map drive the folders for particular users, etc. So,I will work on that scenario and deploy the services in a Lab environment. Like this there must be a lot of scenarios which will help me a lot...I need scenario questions (&solutions if it was available)
Thanks in Advance.

Hi,
We have
Technet virtual labs for various versions of OS. Search for Win 2008 R2 labs.
Or else build own test lab at your place and test it. MS providing evaluation versions of all new OS products make use of it.
Regards, Ravikumar P

Can any one suggest a realtime audio recorder for Reaktor in Logic please?

Hi all,
So its been a few days so far with Logic Pro 7 on my new intel Mac, I made the jump from PC land and Nuendo and am trying to get up to speed.
What I am in dire need of is an application that I can use at the same time as Logic to record the output of some granular parts from Raktor5.
Basically I am trying to manually do some tweaks on sounds that I just want to be recorder into audio files and then inport them into logic for further editing.
Can any one make a good suggestion for such a think, or does Logic have something similar to this already built in?
Thank you all in advance for the help and past help I have recieved in this forum.
Cheers!

Hi all,
Thanks for the ideas... I went with the recorder box and that solution worked perfect! I used to be on a PC and had a Creamware system that allows for routing of audio any where with as many drivers as you want EG: Asio2, Wave and such at the same time so you could just have (at the time I was using Nuendo3) your DAW up, open an instance of soundforge and start weaking Reaktor ensembles from within your DAW host while recording direct to disk in sound forge with out having to do anything, it worked amazingly well.
This is the next best thing.
Now I just need to spend more time in Logic to learn my way around as I am a new user..
Cheers!

How to load data in realtime/transactional cube for BPS

hello all,
I have installed the neccessary cube from business content and all the neccesary content. how do I get data in that real time/transactional cube. SInce we dont have any rules or datasource or anything so its confusing me can someone please help me.
If you have any other imp point to share about this please help.
Thanks in advance

Hi Raj,
Transactional cubes are filled with data using the BPS layouts. They do not require any update rules for this purpose.
However you can also load the data from your source system into this cube and for this you will need to usual Update rules, InfoSource etc. Before loading data you may need to check if the Cube is enabled for Reporting (in RSA1 > right click> Swtich transactional cube.
Hope this helps...

Best SD Compressor Settings for DVCPROHD clips shot on P2?

I have DVCPROHD clips shot 720p 60 at 24fps (23.98 fps to be exact). I am cutting this on the latest vers of FCP. I am mixing this with some SD elements. The final product will be SD dvd or tape. I tried DVCPRO NTSC 50 and I am not thrilled with the quality. Should I use DV NTSC instead? Or should I just mix the formats with out using Compressor edit it on a timeline set to SD settings and burn SD dvd without worrying about Compressor?

Did you try using the YouTube preset?

Downconverter for labview 11.0 to labview 8.6 vi file

Please help me convert the vi file below from labview 11.0 to labview 8.6 version.
Thank you
Attachments:
dbltomatrix.vi ‏17 KB

Here you go.
There are only two ways to tell somebody thanks: Kudos and Marked Solutions
Unofficial Forum Rules and Guidelines
Attachments:
dbltomatrix.vi ‏14 KB

Suggestion for a Video Monitor For FCP

I am looking for a video monitor to use with FCP. The Sony PVM-14L2 13" has been recommended. Is anyone familiar with this monitor or do you have a monitor which is working well for you that you would recommend.
1) Should I be looking for anything key features not listed below?
2) Will I need any other hook ups to make this work with my system?
(Right now I am using a JVC SR-VS30U Dual Deck. A firewire from the computer to the deck and component from the deck to to t.v. the deck also has s-video)
3) When I move into High Definition will this monitor work?
Key Features of the Sony PVM-14L2 13"
Variety of Input Options
The monitor accepts composite, S-video, component and RGB signals standard without options. Serial Digital signals can be viewed with the optional
(with audio) or BKM-120D (without embedded audio). Even
, Sony's version of Fire Wire can be displayed with the optional BKM-155DV board.
Beam Current Feedback Feature
In studio environments, monitors tend to be left on for long periods. This practice leads to white-balance drift and unstable color reproduction. The Beam-Current Feedback circuit corrects for drift over long-term usage of the monitor.
Professional Set-up Features
Calibrating monitors assures that each display is showing correct colors which will match any other correctly calibrated display. The PVM-14L2 has set-up functions like Blue-Gun, H/V Delay, and selectable color temperature for these critical calibrations.

Sounds like a great choice as long as the size works for you. A small truly high-res monitor is much more useful than a big impressive soft one for analysis monitoring.
1) I don't think you need anything else unless the JVC thing doesn't work out. In that case you can try your camcorder, or a capture device such as ADS Pyro, Matrox MXO, or one of the Aja or Decklink cards. Depends...
2) JVC SR-VS30U - I don't know, there are a lot of devices that won't simply pass FireWire through, including many or most DVD recorders. Your best bet is to try it and monitor it on whatever you have.
If you're on NTSC you'll have to pay attention to the black setup. Many consumer digital devices these days won't put in the 7.5IRE setup for North America.
That's OK as long as you aren't using it to do analog conversions. If you can get FCP bars through the thing and set the monitor up properly to them, you should be OK. I'm sure the monitor can be set to 0IRE in menus if need be.
3) It won't show you an HD signal. If you're using the MXO it will give you a realtime SD downconvert to monitor. But that monitor won't display anything but NTSC and PAL. If it did I would probably say that 13" is too small.

System design for remote control

I just wonder which tech of ni I should use.
My system is one data center and some remote DAQ site. The communication is through WAN.
It need to
- start stop and schedule DAQ card from remote data center
- send realtime data back for display
- report the DAQ running status, such as online.
- send history data from site pc to center database
there are many choice, such as tcp/ip, data socket server, shared varible, remote panel, remote vi server, web server.
May I know which one is more fit for the application?
Thanks a lot.

krishh wrote:
Hi all,
I am very new to Labview, but I have to deal with somewhat difficult problem of remotely controlling the Laser in next room. The PC I will be using has already built labview software to control the laser if laser is closeby. But the laser is next door (~200-300 feet), and the PC which controls the laser also have the labview software to control the laser. Please suggest me how should I start communicating from my first PC to the laser (may be using the laser labview software or not). To start with I would be glad to find some reads or demonstrative examples or any suggestion which will head me to right direction.
I hope for great help.
Regards
Krish
It would probably be a good idea to start a new message on this rather than continue in this message thread. It seems to be a different situation you are asking about then what the original poster was doing.
How does the PC communicate with the laser if it is close by? Is it a serial connection? ethernet connection? GPIB? something else. If it is serial, is it RS-232, RS-485, USB? 200-300 feet is too far for an RS-232 or USB connection. But there are numerous products on the market that will adapt those serial protocols to either an RS-485 wiring setup, or put it out over an ethernet connection. So you can go RS-232 to RS-485 on one end. RS-485 goes to 4000 feet (depending on baud rate). Then on the other end another adapter converts it back to RS-232. I have also used a remote USB hub that connects to a LAN connection, and with driver software installed on the PC, it turns that remote connection into virtual serial port connections.
These are good devices that have worked for me. But if they would work for you all depends on how the PC connects to the laser now.

Combining 1080i and 1080p HDV footage on single timeline, for SD output?

Hi All
Help! I'm a cameraperson/director who was has just shot a largeish doccie project on a Sony HVR-V1E. My technical background is in stills, so I hope you'll forgive some ignorance here.
BACKGROUND: The vast majority of the footage was shot HDV using the 25fps prog scan mode on the camera. I really don't like interlace jaggies and I was advised that this was the obvious way of getting away from them, and made for very useable footage when output as standard def interlaced PAL. However, some footage for the project was also shot on a small Sony HDR-HC9 (PAL) camera. The HC9 has no progressive scan mode, i.e. this footage is 1080i50.
The primary broadcaster for this doccie requires delivery on Beta SP, standard def PAL. Because of the 16:9 aspect ratio of the HDV format, the film will be delivered letterboxed, black above and below.
THE MAIN QUESTION: We'll be editing in FCP 6.0 . My editor is more of an Avid person, and is concerned that without proper setup we'l end up with issues later on when we downsize to SD, especially because we'll be combining prog-scanned footage with interlace-scanned footage. We need to know whether to set the sequence presets as HDV 1080i50 or HDV 1080p25.
We're planning to edit as an HDV project and downscale to SD using Compressor. I know this downscaling is likely to take a long time, however we've been advised that editing in HDV is less intensive than going the ProRes route, and the quality of the Compressor downscale is better than that of the other 'within FCP' options.
I've been advised to set the sequence preset to i50, but I'm not sure if Compressor has a harder time resizing interlaced footage than progressive footage. Common sense tell me it'll be easier to resize a progressive frame and then split it into two interlaced fields without artifacts, than resizing and regenerating interlaced fields from 1080 down to PAL dimensions. However, if the sequence preset is p25, will FCP deal with the bits of i50 footage in the project OK?
Also, I've been told but cannot confirm that the Sony HVR-V1E camera scans progressively in 25fps prog scan mode, but encodes each progressively-scanned image as two interlaced fields on the tape, i.e. as 1080i50 images. Is this true? If so, it would surely mean that the sequence preset should be 1080i50 with progressive-scanned imagery emanating from this model of camera.
I hope this makes sense!
Regards
Adam Welz, Cape Town

Hi,
FCP is open format timeline based, so it will transcode the footage according to the first clip on the timeline. so it will not be a problem for two different formats. i've used DVCAM, HDV formats together it has done for me nicely.
but check the result before proceding further ahed in edit in both preset format.
and using Compressor is not a good idea for broadcast I believe, it is ok if there is no other option is with you. It is better to do it with the hardware rather than software.
I use realtime Blackmagic hardware for down converting HD to SD with letterbox directly to tape.

Unable to get realtime position of animated child symbol's div from parent node (Stage)

hi,
for a data viz project, i've created an animated child symbol which changes its position on realtime basis. however, for some calculation purposes, i'm not able to keep track of the realtime position of the div through stage as it is only showing me fixed value (starting position of the child div).... can anyone help? or is there a way to make global variable which can store position value in child symbol and i can access those values on the main stage???

Try these in compositionReady. Adapt the scope of your element.
var symTop = sym.$('Rectangle').css('top');
var symLeft = sym.$('Rectangle').css('left');
Then use the variable value where needed.
or
var position = sym.$("Rectangle").position();
console.log( "x or left: " + position.left + ", y or top: " + position.top );
var x = sym.$("Rectangle").position().left;
var y = sym.$("Rectangle").position().top;
console.log("x=",x,"y=",y);
var coord = sym.$("Rectangle").position();
sym.$("test_Text").html("x:" + coord.left + "<br>y:" + coord.top);

Realtime DV downconvert for DVCPROHD!

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