Recapture issues

Hi to all,
I just lost all my media from a long conference. Was able to find the edit in th autosave vault but need to recapture the tapes, by using the batch capture command. I am having several issues, and could use a little guidance. i'ms sure this has been answere before, but can't find it....
-tapes have been captured using "capture now" and some don't have enough pre-roll available. I tried changing the pre-roll to 0 in the user preferences.... but it still has trouble finding the TC. Is there anything i can do about this.
-with one of the tapes, about an hour long (which is what is specified in the navigator window) hiting the batch capture command tells me it is 1 hour and 56 min long and will take 26gigs (DV). So when it reaches the end of the tape, i get an error message telling me there is one clip left to capture! the media start and end of the offline clip seem correct. any ideas.
and one last thing. If i ever do manage to recapture theese tapes, will i then be able to reconnect the multiclips that have been created for th edit?
thanks for your time..
tee.

Several problems here...
Never use capture now. If you set ins and outs of all these clips and put in a tape number, you could easily get all this media back by just inserting the proper tape and making some clicks.
Most decks have to preroll. It's physically impossible to get the very beginning of a tape, which is why people put color bars for the first min.
Sometimes FCP will think there's a remaining clip to be captured. This happens a lot. Just click on the one clip you want to get and capture that instead of trying to capture the whole batch (which will include any clips FCP thinks are there). When you are done capturing a clip and it moves on to capture that phantom clip, be careful not to choose the wrong option and close that window or you will lose the clip you ust captured.

Similar Messages

Aspect Ratio issues getting 16:9 to look right, what is the best workflow?

Hi all,
I am having trouble getting my 16:9 footage to look right when I export, especially when playing on DVD. I shot the footage with a Sony HDR-HC1 which apparently shoots in 16:9 anamorphic. Originally when I imported the footage it appeared it the FCP viewer and canvas in 4:3 letterboxed form, the image did not look squeezed or stretched but appeared with black stripes on top and bottom.
I have tried several experiments with exporting this footage to dvd with the following results:
Using Compressor with 4:3 setting in export:
DVD Studio Pro track settings to 16:9 looks extra squashed vertically
DVDSP track settings to 4:3 image looks in proper aspect ratio but displays with black stripes on all 4 sides.
Using Compressor with 16:9 settings in export gives the same results.
In conclusion, if it appears in 4:3 letterbox in FCP viewer and canvas there is no way to get it to export and display in DVD with proper 16:9 aspect ratio.
I have also done some experimenting with re-capturing some of the footage from the tape.
For one sequence I recaptured the footage and it displayed in 4:3 without the letterboxed effect (filling the whole screen) but appeared squeezed, I am guessing that this is because of the anamorphic nature in which my camera captures the footage. No pixels were missing. In the FCP viewer and canvas it looked squeezed and did not display in the correct aspect ratio, however when it was exported via Compressor in 4:3 and then in DVDSP Track Settings put to 16:9 Letterboxed, it is displayed perfectly (letterboxed vertically, the image filling the width of the screen without the extra stripes on the sides).
So I thought that I had my solution here, although that did involve re-digitizing and batch capturing all 18 tapes used in the project, so its not exactly a quick fix.
This is where it gets a bit confusing. In order to understand where I had originally gone wrong in my workflow I did some more experiments, this time with the settings on the camera (which I use for a deck in batch capturing). I found the function on the camera where you can set the "TV Type" to either 16:9 or 4:3. I switched the TV Type to 4:3 and when batching it went back to the original letterboxed look (in the batch preview screen that you see while capturing), however when put into the viewer and canvas it was too letterboxed and looked squashed vertically. So then I switched back to TV Type 16:9, now it looks 4:3 squeezed in the batch preview screen (no letterboxing, no missing pixels), however when it goes into the viewer and canvas it becomes letterboxed like the original footage that I had described earlier.
So now even though I have switched the camera back to its original settings it will not display in that 4:3 squeezed look in FCP viewer and canvas.
So after all that my main questions are, in 16:9 can I view it in the FCP viewer and canvas in its correct (anamorphically converted) aspect ratio and still export it without the black bars on all sides?
(The FCP canvas seems to only display in 4:3)
If not, what setting do I need to capture in FCP in the 4:3 squeezed look I have described earlier?
(This is the only setting that I have found that displays properly when anamorphically stretched via DVDSP)
I know that this is a long essay so thanks for making it this far. I have spent weeks experimenting trying to find the best solution so please help me if you know how! I will be very appreciative.
Thanks
Liam

Hi there,
I am not sure if it is necessarily a bug, but its a matter of understanding all of the settings needed. I had the same problems for a while but after a fair bit of trial and error have found some workable settings.
It probably has more to do with the export settings rather than what viewer options have selected (I don't think that viewer settings affect your export).
What program are you using to export?
I am using compressor to export with aspect ration set to automatic 16:9. Then use DVDSP with the track set to 16:9 letterbox, it seems to export to DVD with the correct aspect ratio that way.
I am having trouble with the image strobing, looks like some kind of interlacing problem, but at least I have got it in the right aspect ratio.
Its typical video, solve one problem and it just creates another.
I am yet to find the absolute best workflow.
In response to Andy above, the original letterboxed footage probably did have something to do with the downconverting settings on the camera, as when I import without downconverting it does not letterbox. In the HDR-HC1 there is an option in the menu called "TV Type" with options of 4:3 or 16:9. I was reviewing my footage on a 4:3 television so I most likely had it set to 4:3 which created the letterboxing in the viewer when I then imported the footage.
Importing the footage in HDV solves the issue of aspect ratio, but creates a new problem with the image strobing.
I hope this was some kind of help to you.
Liam

How to overcome "dropped frame" issues on my project

Hey reader,
I have a MacBook Pro 2.4GHz with 250GB hd (85GB free just now) running 10.4.11, FCE HD 3.5 (and QT 7.5.5) and using a Sony Handycam DCR-HC96 (which is works BEAUTIFULLY with iMovie 08 and 6 and is always used with Sony tapes) and I am not able to "capture" the tape content to my MacBook Pro because of the "dropped frame" issue.
The camera is connected to the external hard drive chain via Firewire cable to the MacBook Pro and I was trying to capture to the internal hard drive. I am in the UK and am still struggling to get my head around the different frame rates but initially I got the dreaded "dropped frames were encountered during the last capture attempt" and it just wouldn't work, so I unselected the report dropped frames tab and abort capture in User Preferences as was suggested on here.
Now I get "Capture encountered a problem reading data on your source tape. This could be due to a problem with the tape. Capture has been aborted and your clip has been saved" but the tape is fine (heads are also clean) as I had to (under time pressure, me) use iMovieHD 6 instead and it worked like a CHARM.
What can I do to use this software?
I KNOW I can import the iMovie footage but the disadvantage is the eternal rendering, I guess. I only ever used it once (because of its difficulties) and that was for pre-existing footage from iMovie and it was OK if not perfect. Just had to have a few hours extra for the constant rendering in preview...
Should I try to capture to one of the external hard drives? I read that the internal might be a problem as it is busy with the operating system jobs.
Please and thank you.

I got some dropped frames last night and posted this before noticing your post:
There can be a number of reasons for getting dropped frames during capture.
Yesterday I videoed a relative's wedding (in HDV) and on getting home late I captured the footage into FCP 6.0.3 only to find in a couple of places I got an abort on dropped frames.
This morning I decided to recapture and did so without a single dropped frame.
Why ? ......... there are several possibilities.
It could be that there was some physical problem with the tape or camera heads but I believe it was most likely caused by my camera's power supply.
Last night I used the battery whilst this morning I plugged in the power connector.
I feel that this provided a more constant supply of full power and helped prevent frames from being dropped. (The fact I was using FCP is immaterial as the dropped frames would almost certainly have also occurred in FCE).
From now on I will always use the power connector during transfer to and from the camera.

Strange audi sync problem & different, stranger video sync issu in sequence

I have two strange occurances with one particular set of media that was downloaded from the same original source mini-dv (recording in dvcam) tape. I have not found the same issue on any other footage.
1) when the media is imported into FCP, the audio is out of sync. it is slightly out at the beginning and then gets progressively worse.
2) when this footage is used in a sequence, the video that show in the sequence is not the same as the video that is exported when this sequence is exported as QT movie (or any other export option) Like the audio the video out of sync gets progressively worse.
- The original media is perfectly in sync looking at the digitized source ie: in Quicktime. There is no audio out of sync problem.
- the only difference I could see in the file was that this media is 3.5mb data rate whereas all the others are 3.6mb.
- other tapes from the same camera do not have a problem
- I do all my downloading from a firewire deck and not from the camera
- I upgraded from 6.0.1 to 6.0.4 (as did the QT 7.5 upgrade also) to see if that fixed the problem but to no avail.
Very perplexing. I managed to work around this problem in a sequence whos deadline was looming by manually slipping the footage in the sequence the required number of frames. This is where it also gets odd. I was able to do this by
- double click the clip in the sequence which then loaded that into the viewer.
- position the playhead at the beginning of the clip
- from the canvas select the go to position in master clip option which then loaded the masterclip into the viewer. the position in the masterclip was always the correct frame (ie the frame I expected to see as per my edit). The frame showing in the canvas was also the correct frame (but this would not be the case when exported)
- the next thing i did was to use the slip tool, as soon as i held the slip tool over the sequence clip, the frame in the canvas would be the wrong frame (the frame i would see when I exported).
- then i would just carefully slip the sequence clip back to the matching correct frame. So watching in the viewer, I would align the frame that showed in the viewer to the frame in the canvas.
When done the frame showing in my sequence would be a completely different frame but when exported, the frame that I expected to see would be the exported frame.
I could find no logic to the amount I needed to slip each time (I am sure there is logic but I couldnt figure out what that was). the clip at the end of the footage needed to be slipped -10:09, and this got progressively smaller to the clip at the beginning of footage needing to be slipped -:16
Hopefully that wasnt too confusing.

btw, i have tried recapturing the footage and i have offlined it, copied it to another location and onlined it in the new location to no avail. still have the sync and video in sequence issues.

Offline Recapturing???

Here is my situation... I captured my footage at an offline quality. The tapes were recorded to free run timecode and I captured each tape with an In point at the beginning of the tape and an Out point at the end. Final Cut creates a new clip at each timecode break so for each tape, I have multiple clips.
Well, I edited the project at JPEG quality and when I was done I created an offline project to recapture at full quality. I batch captured all offline clips and was not able to capture all my clips due to timecode breaks.
Is there a way to bypass this problem?
Any help would be appreciated.
Thank you!

Verify that the timecode on the tape is the same as the clip, because when you capture the way you did with Free Run (or time of day) code, the proper timecode doesn't always get recorded for each clip. This is where Logging and Capturing each clip would have been your best bet.
If the time code matches, it might be because with free run code, where you have breaks, when FCP wants to recapture, it needs enough PRE ROLL in order to get a running start and capture the footage. When it doesn't have that, if you used footage from the first second (hmmm...that looks odd...first, second. first second...anyway) then FCP doesn't have enough pre-roll to capture that clip. Again, Log and Capture solves this as you know from the start that you need more pre-roll.
What can you do? Well, not having had to solve this issue, I'm not really sure. First off, Media Manage your sequence into a new project, using only the footage in that project, then try to capture the clips in the bin. If you find one with an issue, move on to the next one. When you are done and have all of your problem clips set aside, track down their TC numbers, CAPTURE NOW at those spots, and cut them in manually. That's all I can think to do.
Shane

Help Recapturing Footage

No doubt this question has been answered several times already, but I can't find an answer that suits my circumstances so I apologise if any one is going over old ground.
I'm cutting tasters for a media company. There are usually about 5/6 tapes to capture for what often ends up as a 3 minute sequence. Sometimes, even months later, I'll need to go back to the project and make another version… so I need to keep my entire capture scratch on an external hard-drive somewhere.
What I've been doing, foolishly, is burning GBs by taking in whole tapes in good quality, expecting to be able to delete the media once the edit is complete. Unfortunately, my employers would like me to keep the capture scratch so I can make tweaks and changes as and when the need arrises.
So what I'd like to start doing is taking in up to five tapes in low quality to keep permanently (RT Offline looks good for this) and then take in only what I've isolated in my sequence in full quality (ProRes422 looks good for this). That way, I can keep going back to the original project file, put together another sequence, and capture it in full quality if I need another version of the taster.
Can someone help me figure out, once I've captured my DV tapes tapes in RT Offline PAL Anamorphic, how to isolate and recapture only what's in my sequence - without disrupting the original offline capture scratch footage?
A) Do I select my sequence and batch capture? - because Final Cut seems to want to batch capture everything I've already already taken in, ignoring the sequence I've selected.
B) Do I have to use Media Manager to create new offline media, based only on what's in my sequence, and then take that into a new project file to batch capture only those clips? - and if so, how do I do that?
C) Or is there some other way that I'm missing?
Thanks a lot for your assistance,
S

Hi Michael,
I think I see what you mean - so I'd do a media manage, copying my files and creating a new 'online' project, deleting unused capture scratch for that new project only? Because otherwise I'd be deleting all of the low quality capture scratch I want to keep for later projects!
I just gave it a go, seemed to work - the only issues I had were:
A) The sequence setting wouldn't update to match the footage in the new project, magnifying my full resolution footage onto the smaller offline sequence, which - had I made zooms and swipes using basic motion keyframes - might have messed up the parameters.
B) It only seemed I was able to batch capture in DV Pal Anamorphic, even though I can export and convert stuff using ProRes422, I seem to be unable to capture in this format - am I doing something wrong? Am I missing a codec?
Again, thanks a lot for the assistance!
S

MultiClip Sync issues Befuddling!

There have been a few Multiclip sync questions asked... but none addressed the issue i've been having...
I've been working with multiclips for a few weeks now, standard A cam/B cam deal. However, when the tapes were logged, the deck had bad heads and there were digital hits throughout. I've been working with the bad clips, with the intention of recapturing once a deck was made available. Unfortunately the clips were "Capture Now"ed so the timecode is outside of the capture capabilities... so i'm relogging the clip with the same names and then reconnecting-telling it to ignore the fact that the ins and outs are different. The multiclips are all still in sync-except for the ones on the timeline. The A Cam and B Cam are still in sync, but the clip is slipped a few seconds. Is there an easier way around this?

It may be that the cameras never held sync during the recording to those tapes. What cameras and what deck (in what format) are you working with? If this was HDV and you really have dropouts on the tape you could use a deck with an HDMI out that uses an error correction control what interpolates the dropout and repairs the image.

XML From Premier ReCaptured in FCP

So my situation is that I have old Adobe Premier projects that I would like to have editing access to for future re-edits when I transition into Final Cut. The source videos are in MPEG-2. When I tried exporting the XML file and exporting the source files to an external hard drive to use with my Mac, I encountered reconnect and codec issues.
Is their a better workflow to accomplish this transition other than transcoding all the media using something like StreamClip and rebuilding my edit? I was thinking maybe the xml file imported in FCP could then give me a recapture option so I could just bring all the content back through FCP. Any thoughts, suggestions???

It's possible that fcp may have a problem with mpeg2 clips. If so, try compressor. If that doesn't work, try mpeg streamclip. You may have to eye match the clips into the timeline as I doubt source timecode (if there is any) will come across the conversion of the media. Hopefully you've got a quicktime of your premiere finish

Subclip timecode issues for MultiClip edit...Help!?!?

Here is the issue. 2 camera shoot, Cameraman 1 pushed pause during a live concert video shoot.
In order to make a multiclip edit with the other camera's footage, I have made subclips of this camera's footage on each side of the pause.
The other camera in the shoot had issues as well so I have been forced to use a sequence and alternant timecodes to line everything up with my sound file.
Everything works well until I get to the subclip after the pause. I try to modify the alternant timecode to correspond with the sequence timecode but when I enter the approporate number FCP forces a different number to appear.
My hunch is that because these are subclips of the same captured clip I am not able to modify the timecode as I want to. Can anyone confirm this hunch?
And...what can I do about this? Do I have to recapture? I hope not. I have tried to create a new master clip in the modify window but the problem persists. I am so close to getting this into the multicam editor I can taste it. Thanks.

Solved it... I ended up having to re-capture the shot after the pause so it would be a seperate media file. I guess I could have copied the file outside of FCP, renamed and imported the file seperatly... I realize this problem was caused by not setting the capture up properly to treat the jump in time code appropriately.

Weird issue (can't see all video after importing to FCP)

Dear board members!
I have a number of files, which were digitized with FCP. Due to a high number of timecode breaks, they were digitized with "abort ETT/PTV on dropped frames" and "abort capture on dropped frames" checked off. Also "on timecode break" was set to "warn after capture".
Now the issue. If I open these files in finder (with QT player), I can see all of digitized video (i.e. 36 minutes) for each of these files. In FCP (even if I import them once again to a new project) I can see only a portion of these files (first few minutes), i.e. it doesn't show me anything after the first time-code break.
Any suggestions?
Thanks,
Tim

If you don't want to deal with recapturing them (the best way to deal with the breaks at capture might be to enable "create new on TC breaks" - "warn after" will create the situation you have now)
anyway, you can probably save reference or self-contained movies from QT player that FCP will be able to import.
Hope this helps -
Max Average

AS2 noScale and pixelation issue

We are doing a number of banners for a client in AS2 using Flash 8 Pro. The version was their specification.
Now I've generated a series of PNGs in photoshop at precisely the same dimensions an imported them directly into the Flash Library.The problem is, when we epublish this to HTML it scales up about 120% and pixelates badly. I've already explored a few workarounds to varying success. Allow me to explain:
In the swf preview (Ctrl+Enter) I get no scale or pixelation issues. The render is clean and sized correctly. The scale problem is only happening in the HTML publishing.
-I double checked the code on the HTML and the size specifications are the same as those in my FLA and PSD. Identical.
-In the publishing settings I discovered that the noScale option prevented the issue, but only for the machine I was working on. None the other test machines saw any improvement in the published banner(we have 4).
-I tried embedding a noScale Actionscript directly into the FLA. Same issues as above. Only the work PC displayed the correct size, the other machines did not.
-I tried manually setting the HTML publish size specifications. Again, same problem.
What's strange to me is that the noScale only corrects the problem for the machine the project was done on. Makes me think some caching is to blame for the misrepresentation. And the HTML Publish seems to be ignoring my size specifications for the SWF altogether. Can someone tell me why this is happening?

Well it looks like I may have resolved this issue, sort of. John (owner of the tapes) let me borrow his camera for the experiment (Thanks). This is what I did with the theory that if I captured using a sony dcr-vx2000 pixelation would be reduced.
The other night (late), I pulled some hurricane Katrina footage that I had not captured yet and capture it with the canon xl2. on playback of the capture NO PIXELATION was observed at all(I watched it three times). I took the originalvtapes that I worked with last week on the wedding and recaptured on the caon xl2. Resulted in occasional pixelation. I then took the same tape and re captured it from the sony camera. Resulted in NO pixelation when playback observed on a tv and on pc screen.
Conclusion:
even though ths is not scientifically provef true or fals, I observed that to capture from a mini dv tape if shot on sony camera, you need to use a sony camera for capture. Same thingapplies with canon.
Note: Canon and Sony, please address these issues as a professional courtesy to the rest of your customers. Thank you.

CS4 and Windows 7 - HDV issues

System Specs:
Windows 7 Home Premium (Service Pack 1)
Dell
Intel Dual Core 2.93GHz
64-bit
8 GB RAM
Premiere Pro CS4 - Latest updates installed.
We've had a continual flow of problems with this program and as soon as we think we've fixed it with re-installs and updates - the problems return or new ones pop up. I'm at my wits end really and hope someone can give us some help. I cannot give you a detailed history of all the reinstalls, etc that we've done in the last 3 months or more but I will give you the current problems.
1. HDV is gone. Gone in capture settings and new project options. All projects using HDV files now say those files are offline and "unsupported format or damaged" This was not the case only a few days ago. No updates, no uninstalls and no system changes since. This no-HDV is completely out of the blue...
2. Tried to recapture footage from Canon HDV (HV20 A) camera. Capture opens saying Camera Offline but Device Control works (play, fast-forward etc - Record is grayed out)
We've had the no HDV in the capture/new project options problem before and I think we fixed it with updates. This time arouond the problems are back and seemingly worse - it's as if Windows 7 arbitrarily decided to jettison HDV from its system.
Hope this gives adequate context. I will try to answer any questions to further help in solving this problem.
Best regards, troy & az @ pbzinc

Sounds like you have been bitten by the Revert to Trial Bug. This ARTICLE goes into more detail on how to solve that issue. Follow the steps in the order listed.
Good luck,
Hunt

Premiere Pro 1.5 - dropped frame issue

First let me say I know this program is out dated so let's not get into that. (or maybe we will) The company I work for is small and just can't afford to upgrade. So, as I am stuck with this program there have been reoccuring issues with dropped frames.
I use a PD-150 and/or DVX-100 to shoot. I used a mini-DV deck to capture to the system via firewire. I noticed that there were several random dropped frames throughout the show. (The show being a dance recital) The big hassle is that it is a two camera show and so everytime I think I have the cameras matched up, oh gee great, there's a nother dropped frame. I then recaptured the tapes from the camera that they were shot in. Same problem, only the dropped frames were in different areas. Does this mean that the tape is not damaged? That it did not occur during filming? Is it a problem with the capturing device? We have a Matrox system. I am also capturing to an external harddrive. Firewire. But this has happened when I've used the computer hard drives for project space. So, I'm not sure if that would make a diffrence.
Basically, wtf can I do to stop dropped frames?
Is it the video card? capturing system?
Do we really just need to upgrade our software to solve the issue?
If indeed there is a solution, would I have to recapture everything in order to get rid of the dropped frames?
Help please! Thanks!
Kip

Recapture to a internal drive is your best option imo.

Issue printing ProRes to HDCam SR

Hello all,
I'm seeing an issue turning up when I print footage out to a 5500 HDCam Sr deck. We're running tiger (10.4.11) FCP studio 2, and using Kona 3's.
The Issue seems to be a grain 'sharpening'. It seems to hit the grain structure and not as much the picture overall as much. Although there seems to be a very slight luminance shift as well. It looks fine on our panasonic BH monitors, but when capturing back from tapes that were printed out, it's there and easy to see when A/B-ing the footage.
At this point, I'm not sure if it's the render settings in fcp (10 bit YUV, RGB, superwhite vs white etc) Kona control panel (v 5x and 6x) settings, or on the deck itself.
The effect does not show up when capturing dailies, so I'm pretty sure it's on the printing out and not on the capture.
Any help would be greatly appreciated. I have tried playing with various settings in all three, but have stumped myself.

Hey Shane,
Thanks for the quick reply! ^^
I considered the generational loss thing too, but the interesting things are that we don't have this with our HDCam deck (HDW f500) and the fact that we had it on a print out to tape (on the 5500) with some wipe transitions on a 1st gen print out. (which is where we first discovered it- the interesting thing is that we found it again on a recapture)
Those settings(YUV hi precision 10 bit) are what I was running before we found it, and then I changed it in testing to the RGB setting and it seemed to lessen it. Another interesting point is that it showed up on another 1st gen printout (dailies captured, cut and output) where we had FCP generated titles.
Hope that makes sense and helps narrow things down,
thanks a bunch!

Mpeg2 issues new thread

woodwizer,
the mov export is here ( final test export )
http://rodneybauer.com/whiteboard3.htm
right click and use 'save link as" option...and you can save the file
the web upload ( youtube which is not so great quality wise...but thats youtube ) is here
http://www.youtube.com/watch?v=CGm1VEG8zxs
-------------using other web site related video ( not youtube ) delivery will give better results...and you can adjust bitrate on export too...make it nicer...I only used 2300kbps----------
http://www.youtube.com/watch?v=CGm1VEG8zxs
as you can see , different things happen on web delivery than other formats...and the uploaded file I used is the one you see on the above link...the letterbox format inside the 720x576 4:5 space...
this didnt require any re-capturing of tapes and so on...just exporting mov wrapper as progressive etc as explained in my confusing earlier posts...and avoids the problems with dv avi or avi exports and so on...because of the hd anamorphic 1.333 original source...
subsequently, you can convert all footage from HD to the mov wrapper and then edit, and then export your edit, and then upload to web and then have a pretty decent product, I think....
If you go interleaved with dv pal recapture in sd my opinion is that you will lose half your vertical resolution going to progressive when you go to the web....you can see the "web" handles it differently maybe from the above link to youtube... ?

I will start with the camera
Its a Canon A1 which can shoot in progressive but puts the footage as interlaced on tape.
1440x1080 with non square pixels and a PAR of 1.33, also known as anamophic widescreen.
As Woodwice has an underpowered laptop there is no way he can edit 8 tapes of hdv with several houndereds of clips in CS4.
CS4 cannot handle large projects. Or he has to make every tape into a project.
He did mention he was able to edit SD without any problem.
So problem solved. Convert the already captured footage or recapture as SD with the camera.
Downconverting in the camera will often give a better result than most software converters.
Using a converter like Aunsoft wont do the job because its for AVCHD (tapeless stuff) which has the extention of MTS/m2ts and is quite
different from HDV footage which Woodwice captured with HDV split and gave him m2t. Premiere gives .mpeg but no scene detection.
Using AME to get HDV to SD in CS4 will give you small vertikal lines this is because they (Adobe) changed the PAR. So CS4 handles convertion
somewhat different than CS3. The second converted avi which plays wonky is imo probably corrupted by K-lite codec pack).
All of John's suggestions but one are unusable.
Corel is a NLE
Womble is an mpeg editor
Magix is a NLE
NCH will convert to dv avi but not from m2t
Daniussoft is a dvd ripper
Deskhare will only convert SD.
Topshoftware dvd only
DVD decrypter dvd only
Squared 5: finally one that can do m2t to dv avi.
Super can do it probably too, but gives you all sorts of codecs you do not want.
Finally mpeg virtual dub. You will not find this on the regular site.
Its specially made, you have to Google, and it does not handle m2t (changing extention makes it crash).
IMO TMPGenc 4 Express is a good converter but not cheap.
Proxy editing is out of the question if one has to render and export on the same underpowered rig.
MPEG Pro HD 4 Plug-In could work but is expensive. 160 dollars.
Have my doubts about Cineform on this rig.
PAL or ntsc dv avi can never be progressive.
the only dv avi that can be progressieve is 24p.
DV avi can never have square pixels.
A dv avi pal is always lower field, non square pixel either 4:3 or widescreen and 720x576.
CS3 has a different par for the dv avi then cs4/5 does.
If you want square pixels in a pal widescreen sequence you will have to use a different codec or uncompressed and change the dimensions for cs3 its 1024x576 for cs4/5 its 1050x576.
In my opinion mov is for the Mac. avi is for PC.
Now for choosing a sequence setting.
HDV: 1440x1080, pal is 25 fps and widescreen 1.33 non square
CS4/5 has ready made presets for this type of footage (and so has cs3 i believe). There is no need to go and make one yourself, especially if you do not know what you are doing. If the footage does not play well its usually the HW.
As the A1 puts its footage interlaced (two fields) on tape there is no need to choose 25p. An interlaced sequence will work just a well. No harm in using a progressive timeline.
Converting HDV to SD (dv avi) can be done in AME (not Premiere, AME is a seperate programm now, you can fill it with footage and batch convert) but it will give you the narrow black bars on each side (see my screendump somewhere in the thread, post 26) This is not an 'issue' in CS3 because it still has the old PAR settings. In CS4 you can crop the footage in the export settings but that will take even longer to convert.
If you capture the HDV footage as SD in the camera you will have no issue with the black bars. One gets clean SD widescreen footage.
Post 52: these are invalid settings will never work for dv avi.
Now when the whole project is edited in a SD widescreen pal lower field first project.
One can export to dvd or the web.
The export to dvd stays interlaced. For the web one can choose e.g. wmv or mp4 both will need deinterlacing on export.
Hope this helps.
PS never going to write a long post as this again

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