Looks like we're good to go. I hear you on the "Doh!" feeling. ;)

thanks guys.

I seem to have an interesting snag using hdlink to convert my m2t files on a shared .psf drive.

Within parallels, using HDLink I can select an m2t file that resides on a shared .psf drive folder, and successfully convert that file to cineform intermediate to any destination on the C: drive.
But, when I change the hdlink prefs to have the 'output destination' be one of my shared drive folders, the completed converted file is corrupt and won't open.

Has anyone else using parallels with hdlink run into this?

-thanks

What is a .psf drive?

well, I guess .psf drive is not the right lingo. It's a parallels shared folder. So in parallels you can map a link to another one of your local hard drives outside of your main c: drive.

Please file a trouble ticket with support so they can test that on Monday.

If I compile I movie using the AME encoder instead of Cineform M2T, will HDLink still properly send it to tape?

It controls the camera, and successfully threw the master copy to tape. However, I rendered the air copy using AME because I was getting a 'failed to allocate video buffer' error repeatedly while halfway thru compiling the air copy in the odd hours of last night (only difference is added QT Animation w/ alpha tags and some cineform intros/outros)

When I try to throw to tape, it just sends a blue screen. Camera turns on and records nothingness. Dohp!

Anyone know of a quick fix for either of those two issues? Any tricky settings I may have missed in AME, or something? The video file does play fine, and I've tried reboot and reinstalling aspectHD.

Thanks!
Carl

PS - I had this problem before with the trial for Cineform before I purchased, and my workaround was to create the m2t, uninstall cineform, create a new project, import m2t, and render and record from premiere, then reinstall cineform for the next go-round. Meep. Looots of work. It had been working fine since then, on a clean install of windows, cineform and premiere.

Hi Carl,

We have not been able to successfully use AME to create an M2T that HDLink will send to tape.

I'm currently working on integrating another MPEG encoder into our Aspect and Prospect families that will allow users to once again export M2Ts compatible with HD Link's export function.

A current solution to get your project out to tape is for you is:
1. Export your finished CineForm project/timeline into a CineForm AVI.
2. Create a new Adobe HDV (not CineForm!) project that matches you desired output (1080 60i, 720 30p, etc.).
3. Import your single CineForm clip into that project
4. Drop your CineForm AVI onto the timeline.
5. File->Export->Export to Tape
6. Click "Render and record"

You do not need to uninstall CineForm for this. You can have it installed and this will work just fine.

This will transcode your clip into HDV and export it to tape. While I don't beleive you get the keep the M2T, you will have successfully archived your project to tape.

For some odd reason, I did have to uninstall it before to get premiere to render and record properly. I never quite figured out why, but I never saw it again after a much-needed hard drive wipe.

Rebooted, uninstalled & reinstalled aspect, tried to make the cineform M2T again, still didn't work. Decided to do it in pieces, changed my work area, tried again for the M2T, but forgot to set it to work area only. Lo and Behold, it worked.

Just goes to show! Computers like to be spontaneous, sadistic, and generally enjoy the misery of fleshbags. :D The only difference was this time, I was in the room glaring at my screen.

Glad to know now that the AME settings were probably right, at least. Air copy is on tape now, Premiere & HDLink worked flawlessly this time, with no changes since the last few attempts. I wouldn't mind trying repeatedly if it was smaller renders, 27 min with heavy compositing hurts. :D

Once again : Turned out not to be a Cineform problem. You guys are on a roll. And though I've ran into quite a few problems I've asked about on this board since installing Cineform, it's really not indicative of my overall satisfaction. I've had less problems than just working with premiere by itself, honestly. Now I just have found a great online group to help and be helped by. :D And I'm overjoyed to now be a part of the DVInfo.net community. Between this board and Cineform's responsiveness, even when I've had trouble, I've had a long list of workarounds, fixes, and alternate methods I've tried, enough to keep the network off of my back, along the lines of "he tried it how many different ways? He's talking to the CTO of the software company?!"

It all started when I purchased Cineform and mentioned I was going to try a workaround for the nvidia 8800 series cards on the comments section of the order, sometime around midnight EST.

I got an e-mail from David about 5 minutes later. My roommate saw me run out of the room saying "Oh my god, I've never seen customer service like this before!!!" =D

Carl

The Cineform folks that respond here are unsurpassed. It has practically redefined user-support and is truly one of the greatest values, second only to the function of their product.

Add to that, the immense resource pool of experience and intelligence of the many participants on this board, and you have a wealth of responsive and helpful knowledge that money literally cannot buy.

AME m2t files are not exportable back to tape, in my experience.

However Procoder 2 and TMPGEnc XPress 4 can both produce m2t's that I and others have been able to successfully export back to tape using the HDLink utility.

Sounds about right.

All of my issues seem to have their roots in Adobe. Right now I'm burning the DVD for said project for the art department preview, and Encore once again crapped out on me. I rendered the project down to SD, took a few hours, and brought it in, and it stuck in an endless loop on burn.

Renamed the air copy to .mpg from .m2t, dropped it in nero, gave it chapter markers, and it's doing a VBR 2 pass downres as I type. Adobe's software requires certain file types, and SD resolution. Nero, however, is transcoding my m2t for DVD just fine, in about the time of the downres I did to drop into encore for it to mock me. :)

I don't think it will be too long before I buy a mac, get it set up with prospect2k and final cut, and kick this computer down to AE renders... I'm generally a PC fan, but sheesh. :)

Carl

Hi everybody (I am not native - excuse my English)

When you capture with HDLink and import to APP2.0 and later you want to load your programm again - is it possible to recapture that files? Does HDlink save tape numbers or tape names?

Thx a lot
Eric

HDLink doesn't retain the timecode from the tape so its not easy to batch capture the exact same clips each time. It's not impossible, but I don't recommend it.

For timecode and batch capturing, I suggest capturing in Premiere Pro.

Is batch capture something that's been given any thought for the future in HDLink? Or maybe it's just not practical for HDV?

As a hobbyist (and so not needing an ultra-formal and mission critical backup solution) I simply just archive projects off to external (USB) drives nowdays and just buy a new drive every once in a while as they are getting cheaper all the time.

David,
Is there still a problem with this combo? I have the latest version of AspectHD. I can sometimes get it to work, but I waste a lot of time retrying. Seems like I need to either connect or turn on the camera in a certain order before/after starting HDlink. I am not sure, but it very often crashes. Not stable at all.

Sincerely,
Mike

p.s. camera is HV20

Vista is still not recommended for direct camera capture via Firewire, there are still device driver issues.

Will this be addressed in future? So is the recommended way to capture from within a PremierePro project?

Of course, particularly as Vista usage increases, we will see more bug fixes and features addressing that platform.

David,
So I should use the freeware HDVsplit along with the $500 AspectHD program and do it in 2 steps? Yikes.

Mike

It will work but now I have to manually start playback on the camera then hit start in CF.

I own the BlackMagic HDLINK. The HDLINK does not offer audio over the HDMI out, but offers analog stereo RCA outputs.

Has anyone tried taking the HDMI out of the HDLINK into a BM Intensity Pro, and taking the analog RCA outs of the HDLINK and using the BM Intensity Pro's analog RCA input connections that are located with the component inputs?

My concern is that the analog inputs that are on the same connector for the component inputs will not work while capturing the HDMI video in on the Intensity Pro.

So, using the BM Intensity Pro, I want to capture video on the HDMI and capture audio on its analog inputs on at the same time, then capture this to Cineform NEO HD.

Is this possible?

I'm not sure if both HDMI, component, and RCA audio are active on the Intensity Pro at the same time.

I'm not sure if both HDMI, component, and RCA audio are active on the Intensity Pro at the same time.

I've spoken with Blackmagic regarding the Intensity Pro - I was told no two video in or outputs are active at the same time. They stated you change a setting to tell it where to send/receive, only one at a time. :\

Carl

Thanks Carl.

I wonder if you can tell it to receive audio via the analog RCA connections, and receive video via HDMI at the same time?

I have no idea, sorry. :) Their US number is 408-954-0500... they were pretty quick to respond when I called. I'd call for you, but I'm not yet caffienated this morn ;)

C

Yes, you can capture HDMI video and analog audio at the same time to one file using the Intensity pro. All oyu have to do is choose those options in the Intensity control panel.

-Robert

Robert,

I'm building a system based around the Intensity... how is it accessed via FCP? Through selecting it as an external video device a la Firewire/Cinema Display/Other Options? Or is it automatic (thereby letting me send video out via firewire as well as the Intensity? If so, how is the audio/video sync? :D

This will be my first attempt at building an editing suite, complete with minidv deck, a shared betaSP deck with the current machine, ext DVD burner, 2 monitors, external preview, etc etc..... and I really don't want to screw this up. ;)

Carl

Adobe OnLocation records footage directly to hard disc. Can OnLocation work with HDLink and record directly into the Cineform codec?

I don't think so - it only captures the native HDV stream. You can convert to CineForm files later with HDLink.

Yes, you can capture HDMI video and analog audio at the same time to one file using the Intensity pro. All oyu have to do is choose those options in the Intensity control panel.

-Robert

Thanks Robert,
So has I'm hoping Cineform NEO HD will work with this configuration mentioned above.

Would it make any difference to the quality of the footage if it could record into Cineform directly from the camera? As opposed to converting it to Cineform after it has been recorded.

On location stores the incoming Mt2 data stream without modifying it.
So you get the same quality Cineform files after converting.

Thanks guys!

Would it make any difference to the quality of the footage if it could record into Cineform directly from the camera? As opposed to converting it to Cineform after it has been recorded.

Anthony, it DOES make a difference, if you have a way to capture directly from your cams out either a HDMI or SDI port (like on the Sony V1 or the EX1) and BEFORE more compression artifacts are introduced by the HDV in-cam compression. This is done by using one of several different capture boards (like the BM Intensity or others) to a hard drive, compressing and editing only with the Cineform Intermediate codec.

If you can can do it that way, you gain in quality, especially if you do much chroma work or FX. Otherwise, it still looks very very nice after multigenerational edits using Cineform, even if you don't capture directly.

HDV material doesn't look near as nice under those same conditions without Cineform. That's why so many guys here use it for doing heavier editing jobs. It's a serious codec/software for serious production use. For general light/casual use with HDV, it's overkill. For wringing the most from existing equipment (even up to the very best), it's marvelous and cost effective.

Wow, what a promo...

What are the pros and cons of using the CineFrame option in HDLINK when capturing video recorded using the Sony FX1 and Z1U? Of course, this would be recorded in Cineframe mode. Does this work well for low lighting conditions where lighting effects and spot lights will be used?

or, is it better just to capture in 60i? The final product is broadcast, internet flash, and dvd.

Richard, we have a lot of information posted about Sony's CineFrame modes here: http://www.cineform.com/products/TechNotes/SonyHDVSupport/CineFrame.htm. Please take a look at this if you haven't already. Then feel free to follow up with specific questions.

Does anyone have any experience using the CineFrame mode in HDLINK? Does the video look better compared to 60I? Any workflow issues?

I am basically looking for feedback about any experiences. The link you provided is what raised my question to switch to the CineFrame 24/25P with the FX1/Z1U. The information provided looks impressive.

Richard,

I've used Cineframe, and its pros and cons are discussed both here, and in the Sony forums. Bottomline, the opinion of those with much more tech savvy than I, say.... "don't use Cineframe".

If a progressive end product is your goal, I have been very pleased with capture, post, and output the final edit in the native format of capture (in your case, 60i).

Then I deinterlace in TMPGenc. It offers several different deinterlacing formulas, and also does a wonderful job of rescaling the framesize if you are thinking of using your production on the web, etc.

If you really wanted to take it a step further, you could capture 60i, then use one of the "smart" deinterlacers on each individual clip... setting up the parameters of the deinterlacer to suit the content of each.

There have been some comparisons between TMPGenc and other dedicated (smart) deinterlace softwares, and it actually holds its own very well.

There may be technical arguments against what I have cited here, but I can tell you for certain that my current workflow yields a production superior to the Cineframe scheme.

And one additional point... once shot in Cineframe, you end up taking a resolution hit, and that is your source material forever. My thought is to acquire in the absolute best format your equipment can produce so that your future options always begin with the best possible ingredients.

I've managed to get pretty good results capturing 50i without Cineframe, using a Z1U, and deinterlace and slow down 4.1% (all right in HDLink) to achieve 24p. It's not full vertical resolution, but it looks good, and I only typically deliver SD.

You could use the FX for that as well, but it would be a 20% slowdown or so (the presets are more specific.)

OK, does anyone know if I can use the BM HDLINK into a BM INENSITY PRO and capture Cineform NEO HD both audio and video via this BM card?

Also, if it does work. I believe I should be able to capture to NEO HD 1920x1080 24P 10 bit 4:2:2 from the Sony PMW-EX1. Is this true? If it does work, I would probably have to choose to remove 3-2 pulldown in the Cineform software.

I would like to know these answers before I upgrade from NEO HDV to NEO HD.

Also, if I manage to get 10 bit 4:2:2 files, I've heard that Sony Vegas 8 Pro only has 8 bit file I/O. Does anyone know if this is true? This seems odd since they offer 32 bit internal. If Vegas is out, Would Adobe Premiere Pro CS3 offer 10 bit I/O?

It looks as if Cineframe is not the best path to take when capturing video. I have to agree that it is better to capture the source in the best format possible. It looks as if I will stick with capturing 60I in HDLink since that will retain the best picture.

Thanks again

Richard, I have not attempted to use the Cineframe mode to capture, so I cannot add any intelligence to the discussion from that standpoint - I have read the entire CineForm presentation on the use of that format, have been very impressed with the cogent presentation there, and have been tempted to give it a try, but for a good reason cited at the end of this post, I won't be using it now.

But I might mention an alternate for your consideration that you could try out without too much difficulty, and see how it works for you:

Shoot with the FX1 (that's one of the three HDVs I use) in your normal 1080i (and yes, I certainly agree with Marty about shooting in the native format of your camera to maintain the best original source material - assuming that 1080i is superior to Cineframe). Then edit in 1080i (and do not deinterlace until the edit is finished) and then, using TMPGenc (I don't have it, but have read in dozens of different posts that it is the best prosumer program out there), convert to 480 progressive, or another size.

I have tried all kinds of combinations with Cineform and my current Premiere CS3 crummy Adobe Media Encoder. Here is how I am currently getting the very best results for me and my customers using the AME. I shoot and download in 1080i, using CineForm, perform complete edits in Premiere in 1080i, and then using CineForm to export from the Premiere timeline, I convert to 1080p. Then in Encore, and using the much maligned MainConcept device, I transcode and burn DVDs in 480p. Of course I set the transcode up for target 7 Mb variable 2 pass, which takes about six hours for a 45 minute feature on my PC's dual, dual Xeon 3.0 processor. The results are better than seven other work flows I have tried, including converting 1080p to 480p using CineForm!

Using this workflow (versus leaving the format in interlaced til the end and then converting to progressive) I get superb results (and I'm picky).

I have been warned off by some real experts against burning progressive DVD-Rs since the DVD spec apparently doesn't even allow for progressive. Well, I run everything I produce in Standard Definition through a Toshiba HD-DVD player, a Sony Blu Ray player, a Sony progressive output DVD player, an inexpensive Sony DVD player with interlaced output, a elcheapo Insignia DVD player feeding a cheap CRT, and two portable Insignia DVD players (also unbelievably cheap) - interlaced DVD-Rs play on all of these - progressive DVD-Rs play on all except one of the Insignia portables. The progressive DVD-Rs play on most of my customers machines, if the machines were manufactured since 2003. And as you probably well know (I didn't, and it surprised me) since you're evidently producing DVDs in progressive, our equipment does a lot better in deinterlacing than does the equipment in our customers playback equipment (unless they have some expensive Silicon Optics chips or such).

By the way, you didn't indicate if you're on an Apple or a PC - but if you're on a PC, you might be interested to know that Microsoft has had Service Pack #3 out in Beta for some time, and will be releasing it shortly - if it doesn't mess up our programs, according to some Beta users, it may speed up transcoding by 50% for those of us with multiple processors!

Finally, I will be setting aside this whole interlaced issue, as I'll be purchasing a Sony EX-1.

Best of success to you in whatever transcoding you do!

William, you may want to see if TMPGenc is available as a trial. You should also investigate Fields Kit by RE:Vision. TMPGenc is a great tool even if you upgrade to progressive acquisition.

I'm adding the EX1 as well, so let me ask this... given your experiementation and the caveat of progressive DVD, are you going to mess with interlacing a progressive source for the benefit of SD DVD?

It seems like an unlikely step backwards, but I suppose in the rare cases that you cite, there may be compatibility issues?

Marty, thanks for the suggestion re TMPGEnc - sorry to be so late getting back to you, but I've been trying to get at the root of an issue in my screening room that just started yesterday morning (I'm suddenly and inexplicably getting serious screen flicker - the projector bulb in a Panasonic AE1000U has only 425 hours on it), and I'm trying to find out if this intermittent issue is the result of the projector, the receiver, or the HDMI cable (the player is OK).

Finally prompted by your post, I've now gone to TMPGEnc's site - of all thier flavors available, I assume you're talking about "TMPGEnc 4. XPress". It's available for trial download. Still having four major productions to edit which were shot in 1080i, I'm going to purchase the program, which isn't expensive, and give it a shot on one of my current productions, as one alternate to my current workflow.

From your early post in this thread, it sounds as if you have some real experience using TMPGenc for de-interlace (as well as its other many functions). I'd appreciate any feed back you might provide about one specific aspect of your workflow - with source material of 1080i, at what point do you de-interlace? Do you deinterlace right after capture, on individual clips, using TMPEnc, or after you've finished editing in 1080i (or after editing in 480i, previously down-rezzed by Cineform or TMPGEnc?).

As to whether or not I intend to continue to produce DVD-Rs in 480p or 480i, I will produce everything in 480p, except when a customer doesn't have a main player which will read 480p (I check that out ahead of time by giving the customer two little test discs, one in 480i, and the other in 480p). One of my customers, for instance, just found that his old, old (2002) Sony player played the 480p test disc fine, but his first generation Toshiba HD-DVD player (the only one feeding his flat panel LCD widescreen) wouldn't register anything - I have suggested to him that he replace that Toshiba (with its old CPU and 1 gig of Ram!) with Toshiba's latest HD-DVD for $150 - no word yet.

And re Blu Ray, I don't have the faintest yet. I'm currently archiving every production on hard drives in 1080i, for the future. And when a customer asks for a Blu Ray, I'll purchase my first burner, and figure that all out then. I see that almost all commercial Blu Ray discs advertise on their packaging that they are presented in 1080p - in keeping with the current consumer hysteria about 1080p ala Best Buy and Circuit City! And again, I see that for whatever reason, 1080p is excluded from the Blu Ray spec!?

Hey guys,

I have a good bit of footage I shot yesterday with my Z1 in 1080i60 mode. I'm looking to possibly do some slow motions, and I'm thinking of finishing this in 720p for the sake of more lattitude with slow-motion.

Can I deinterlace and scale to 720p? The reason is, there is some rather unsteady footage here, but I shot at a very high shutter speed to allow for better motion processing. What would be the best settings to go from 1080i60 to 720p24? Ideally I would like to do something along these lines, 1080i60 deinterlace to 540p60 (540x1440) scaled to 720p60 then slow-mo -60% to 720p24.... giving me a LOT of room to work with already in the slow-mo department...

I am worried I will lose a lot in the deinterlace and then having to upscale to 720 though, any thoughts?

C

I am trying to convert 60i clips to 24p, I was about to purchase DVFilm maker or Magic Bullet for this but then I noticed these options in HDLink.

When capturing, does HDlink do a good job converting and de-interlacing the footage to 24p?

Thanks

They all have subtly different looks. Try them, and choose the one you like best.

But am I correct, HDLink does the conversion from 60i to 24p when capturing?

Yes, that is one of the options. Normally we prefer to removal pulldown from sources that where originally 24p, but we can also convert standard 60i to 24p. Select pulldown removal and deinterlace to convert 60i to 24p.

Thank you for the info, I've been playing around with all 3.

It seem as if HDlink can only convert to 1920 X1080 if the final output is a CF avi file?
Will it convert a m2t 1440 X1080 60i to 1920 X1080 24p ( or 23.976)? I can't seem to do that.

Another question: the reason I am asking this question is because I am avoid using the CF inter. codec because my project requires some slow motion action using time remapping and I have to render everytime I make the slightest change, is this normal?
In premiere project settings, this is not the case, I can view in real time as with dissolve transitions.

You can play speed changes in real-time, but we haven't support time remapping, however you can use CTRL+Spacebar to play no real-time filters.

You can convert 1440x1080 to 1920x1080 using the resize option with HDLink (requires NEO HD or Prospect HD and above.)