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If your creating the still to use as part of, or as a background for type in CG. try this-
When you create a “still” in Panamation, you will see the “still” button higlighted and also the “save project” button highlighted just below it. If you save this still and then try to open it in CG to add type, you’ll get that error message. De-select the “save project” button before saving the still and it will open in CG without a problem. If I think I might have to further work the “still”, I save 2 versions (a and b). Version “a” I save with the “save project” buton highlighted, version “b” without. That allows you to reload “a” in Panamation, make changes, and resave again. Hope this helps.
I have watched threads outlinimg this problem for some time now as an increasing number of users seem to encounter the problem. I’ve only had the issue once and that was when I installed another application. Uninstalled that app, rebooted and never saw the problem again. My GC host PC has only the GC application loaded, nothing else to run in the background or load conflicting drivers. For what it’s worth, I’ve never seen probably about 80% of the glitches mentioned here. My hunch is that it’s drivers in other apps that are causing the problem but have no clue which it might be. Because of the commonality in our business, suspect it could be Photoshop or some other app we would all run. Might want to try cleaning the host PC and starting over with no other apps installed.
The delay with the Folsom is about 11 frames with the upscaling. Add the 1 frame required to pass through the GC and your up to about one half a second (which clients really notice). Yes, I add delay to the audio to correct the problem and resync those big IMAG lips to the audio! If you’re in a large venue, you’re probably already using a delay on the front speaker array to eliminate the “slap” effect in the back portion of the hall. Make sure you insert the additional (try 10 frames) delay to both the front and rear stacks. The amount of delay required seems to vary from venue to venue, as the accustics of the hall itself come into play.
I have discussed the need for an XGA input card with the folks at GS on and off for about three years now. Using GC exclusively for live events, it’s a need that occurs on every show these days. Up to now, the best solution has been to put a Folsom Screen Pro in the chain as the last piece before the IMAG proectors. The Folsom is then used as a switcher to select either RGB from the GC output or XGA from the PowerPoint computer. This maintains the quality of the PP material at XGA resolution. The GC output is upscaled by the Folsom to XGA and sent to the IMAG proectors. As far as using PP in post? I have tried all the posted methods and found no real “great” solution that can make a high-end client really happy. How about it GS?
Ditto Casey. I’m in the same boat (again this year) and have the same questions. How about it guys… what’s the scoop?
Yes, that deck will do flawless insert edits when using DVCpro tape/RS422 control. None of the Panasonic DVCpro decks will allow any form of editing (insert, crash, etc.) or recording on anything but DVCpro tape. Your customer needs to make a dub from his completed DVCpro master to a DVCAM deck/tape to get a “house standard” master. Using firewire between decks will eliminate any generation loss.
Great job with your GC Casey! Nice to see a familiar name in the credits. It’s at times like these that I wish we were related!
Been wondering myself about just that as the date gets closer. So far, nothing but the roaring sound of silence.
The short answer is yes, with this qualifier- you need to use the Y/C (“S”) or composit video out from your cameras, and you will need to connect each camera to a GlobeCaster Composite/YC frame sync input card. Those cards will allow the cameras to be genlocked to the GC system which is an absolute requirement.
Thanks for the info Casey. We’ll take a look!
From reading trade pubs that cross my desk and email from OEMs, it looks like Ted and Eric will be VERY busy this year! I can’t attend- have a live event that keeps getting in the way year after year- but I’ll look for you guys doing your sessions on Newteks live webcast from NAB.
I’m with you Casey! The Amiga was a remarkable machine that was before it’s time. I still have a working 4000 Tower/Toaster/Flyer on the shop bench that I fire up from time to time just for “old times sake”. Still amazed at how much we could do, with by todays standards, so little.November 22, 2017 at 9:10 pm in reply to: Missing Driver for Slot 1/Time Machine Difficulties #7523
This is a pretty common occurance which, in my case, has always been the result of “shipping shakeup”. In other words, boards and cables become unseated due to temp variation and vibration durring transit. The input cards residing in slots number one and two are directly connected to the TM. If either card or any of the TM or audio router cables becomes unseated for any reason, you get this message. Try unplugging and replugging the card and all related cables, then do a clean restart of the entire system.
The rest of the story… I also use a trackball mouse to maximize space control and switching flexability (four programable buttons plus the ball). Replaced the keyboard with an X-Keys pad for performance- mouse on right side, X-Keys pad on left, script/cue sheet in the middle. Switched to rack mounted Marshall LCD monitors about six months ago. Have two of the 3 screen/2 RU panels. With two switchable inputs per monitor, thats twelve screens to monitor all sources, record decks, ect. Still use SONY 8″ studio monitors for preview and program. The host computer is housed in a 2RU steel case with four cooling fans plus a processor fan. All pre-produced playback material, regardless of format, is digitized to TM and played in switcher as a project. Due to the lack of a countdown timer for TM playback on the switcher panel, I have been placing a “live” effect at the end of each timeline to take camera #1. That leaves only the lighting cue to call, and when the lights come up on stage, it appears as a fade from black on the screens as camera #1 is already live. I’m seriously considering a Marshall 17″ LCD rack mount XVGA monitor for the GC which would eliminate one whole road case. Carl, Your solution with the wall mount bracket is really clever and a whole lot cheaper. Giving that some thought.
Carl- Sounds like your solution is identical to mine. I take along an LD and Audio Eng. to round out the crew. We have been using three robotic Panasonic AW E600 cameras and one live/op cam for HH needs with great results. The ability to pre-program the robotics for both the standard and audiance pick up shots has made life a whole lot easier this past year.