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"no audio stream" after update
 

David,

Not sure what happened, but after updating from Neoscene 5.05 (or like) to 5.12, there's a log entry that comes-up at every conversion of DSLR footage to AVI stating that "no audio stream detected." And I've confirmed there's no audio after conversion.

It's not critical audio, as we're recording audio separately and with a slate to sync, but it's still a concern as we may start using the on camera audio soon.

General setup:
Sony i7 mobile
Vegas Pro 9 (e)
Neoscene 5.12
AC-filter
Quicktime

Any chance there's something going on in the update process (following the steps provided by Cineform) that's changing critical registry settings?

Thanks for the help,
Brad

Brad,
your post is not related to this thread. Please file a trouble ticket with support Support Center as they will know more on what may been causing that.

I believe the issue is related (as a Quicktime conflict is the most likley issue), but I'll look into trying to fix the issue as you requested.

Brad

I have Neo4K 5.1.2 build 271 on Win 7 64-bit.

With 7D footage, it does not exhibit such behavior - it transcodes audio just fine.

Which DSLR and how long are your clips?

Hey Alex,

Just running Neoscene to produce a pilot. Seeing enough wasted money better spent by others, I'm running as lean a ship (excluding nationally recognized talent) as I can.

As for the clips, everything we've shot has been a combo of T2i and 5D with primes and the Canon 17-55 f/2.8 (which everyone on our crew seems to love most). Future shooting includes plans to add available Red One's (if needed) and a Phantom (sp?) to shoot some HD at around 200 fps (action sequences planned).

The DSLR clips are rendering video through Neoscene (on Cineform's "high" setting) beautifully. It was immediately following a Neoscene upgrade (on a computer used exclusively for on-set production work) that the audio went invisible to Neoscene. I've worked as an engineer long enough to understand the nature of the registry control exhibited by programs produced by Adobe and Apple (to mention two of the worst offenders), and I suspect the issue has something to do with an inadvertant change to something considered sacred by another program.

To attempt an easy fix, I unloaded and reloaded Neoscene and AC3filter (independently, different boots). And to do anything more while working full time as an engineer and producing a tv show (also full time) is unlikely. If anything, I'll carve out a time to try David's solution, and if that doesn't work, I'll take my second license of Neoscene off the laptop and transfer it to a crew member. My desktop version of Neoscene works great.

Brad

P.S. Also of possible interest, if you shoot with professional lighting experts, it makes no noticiable difference whether the footage came from a T2i or 5D. Super-shallow DOF aside, Lock your iso at 100, and damn if the $800 sensor doesn't rock with the big dog! (I expect differences of opinion, but I'm looking at the proof.)

>> a combo of T2i and 5D with primes and the Canon 17-55 f/2.8 (which everyone on our crew seems to love most).


+1 on that - it is a fabulous lens that produces beautiful images. Became my go-to lens for 7D I won.


>> it makes no noticiable difference whether the footage came from a T2i or 5D.

What are T2i's monitoring capabilities? Say, 5D loses HDMI signal for 4 sec and then restores it only at SD resolution, after the Rec button is pressed. Not so with 7D. How's T2i?

The 5D would be the monitoring winner (with HD capability), but we're doing great with the T2i via a pro SD external monitor. As for the HDMI delay, I can't comment (yet), as we've been running composite video for external monitoring with no delay. At times, we'll pull a card to check a critical focus-pull on a laptop with a 1920X1080 screen; but generally, the focus critical work we're doing is mostly insured through the camera's built-in focus zoom. But we're also not after the DOF that leaves parts of a person's face in and out of focus, simultaneously. More power to those who want that.

As for people who shoot in uncontrolled low-light, they're bound to see some differences between the 5D and the T2i, likely growing exponentially toward complete darkness. But again, we're lighting with pros and using DSLR's never fully developed for video acquisition, which essentially negates the differences between the two cameras in our work.

For studio work, I'd absolutely recommend SI-2K camera(s) - they are even recording in Cineform RAW codec natively.

vDSLR (7D in my case) - I use it as second camera, sparingly, with low contrast, low sharpness settings for maximum flexibility in post.

Interestingly enough, it's been a man with years of experience and full access to 2K-4K cameras (Red One and Phantom) who determined we're wise to shoot most of our footage with the DSLR's. High motion, high frame-rates, and the need to pan around are the reasons he gave to switch cameras, as needed.

Having evaluated footage (raw and compressed) for Digital Juice for many years, he's as much an expert on video quality as I know. And again, we're lighting things properly, which makes all the difference!

I should also make it clear we have no intention of producing our pilot for large screen distribution. Blu Ray is our end goal, and a SI-2K, Red One, or even the 4K, 1,000+fps Phantom (sp?) is overkill, excluding the purposes listed above.

Again, lighting. DSLR's require better lighting strategies than any camera I've ever used. But get it right, and the images are breath-taking! I like the sharpness, ergonomics, and flexibility of the many pro cameras available, but after post-production (using Cineform), I'm completely satisfied with the DSLR footage we're pulling.

Moir artifacts and dynamic range make vDSLRs lose even on static frames (like interviews) vs higher end video cams like SI-2K. I own both, and use vDSLRs sparingly as 2nd cam on high end jobs. SI2K is still the winner.

(All this may change with the next few generations of the digital cameras. But that's where we are right now... And Cineform native capture was one of the big selling points of SI2K cam for me.)

Ditto on the Cineform. And again, I understand the mathematical limitations (to some degree) of all these cameras (Phantom aside). And to whatever degree they're compressing data (BS on the "raw," Phantom excluded), I love properly captured Canon DSLR footage. Canon has always had the look (color warmth) I love, but it wasn't until they incorporated their phenomenal still photo technology that this boat started sailing (good metaphor, as I love to sail).

But alas, I'm a writer who uses tools to accomplish an end. Next year, maybe I'll be touting a pocket-sized 4K video cam? Maybe 8K with a nuclear battery that never needs charging? :)

In conclusion, Cineform tech folk said to do the very thing I should've done before dragging the rest of you in—uninstall and reinstall Quicktime. David, couldn't begin to suggest where, but your installer/updated Neoscene appears to have a registration conflict with Quicktime.

That shared, all is working great again!

B