One thing you should not overlook though is that HDMI does not support PsF.

[quote user="blafarm"] That's what I thought you were saying. Here's my question: If the Sammy doesn't like the Nitris DX's 23.976p (PsF) output even with the AJA box connected -- and if you are crosscoverting to 1080i 59.94 (non-PsF) format using Symphony/Nitris DX -- do you still really need the AJA box in-line to playback

[quote user="blafarm"] >>Mike, I believe you indicated having had sucess with your Samsung by crossconverting your video output from 23.976p (which we know is PsF) to 1080i 59.94 in your Avid. When you did that, were you using the integrated HDMI output on the Nitris DX -- or were you routing the DX's HDSDI to the AJA "HDSDI

Terry- Are you saying if you decompose an import, the reimport will correctly import only portion of the import reflected in the decompose!? (Please say yes). Mike I'ma goona try it out.

Further, I believe the two parts in which the frame gets recorded in are the top half and then the bottom half, instead of every other line.

I am cutting an HD 24p project. I have added locators for VFX spotting. The locator window TC column is showing 30fps time code. Any ideas?

Cut the same shot over itself. Use any color tool you like to set the exposure on the window. Drop an AniMatte effect on the top shot and draw a mask around the window using Key In. You can then keyframe the AniMatte if the shot is moving. You can even add another shape in the same AniMatte effect if someone walks in front of the window and set that

I have the AJA HD-SDI to HDMI converter box running to a Samsung 46" LCD. When editing in a 23.97 project, the Sammy doesn't like the 23.98p output. But I can get an image on the Samsung when editing in a 23.98 project by setting the video out to Crossconvert to 1080i 59.97. It looks great. The problem is when I am cutting in a true 24p project

I have a client that wants me to be the colorist for a music video shot with the Red camera and cut in Final Cut Pro. The footage is now Apple ProRes422 in the FCP project. Is there a way to get this timeline and footage over to Symphony?

I am working on a feature film. Getting OMFs from my composer. I am woking Symphony DX 1080p/24. He is in ProTools and says he is working in a 24fps project. When I try to import the OMFs I get... "Exception: File Edit Rate not equal to Project Edit Rate, project rate:24, file rate:48000" First, I don't understand this error because it