For PRE to recognise the camera you should connect it via Firewire.
Do this before you start PRE and check in the Windows Device Manager to see if Windows itself recognises it as a camcorder. If Windows does NOT see it then the problem is a Windows problem and not a PRE problem. Report back when you have done this and let us know the result.
Insanity is hereditary, you get it from your children
I am just an amateur, sorry.
When Neale says that if the camera is not recognized, it's a Windows problem, that extends slightly: it could be a cable, or the connector on either the camera, or the computer in that scheme.
Also, have you added anything else FireWire, since things worked for you? Most cameras want to be the ONLY peripheral on a FW controller chip. On most computers, there is only one FW chip on the MoBo (some do have separate multiple chips, but most do not), so even if one has multiple ports, the signals are fed to ONE chip. This is not daisy-chaining, hooking up several FW peripherals one, into the next and only one into a port on the machine, but multiple peripherals into individual ports, all feeding to ONE chip. Daisy-chaining is OK for some peripherals, but NOT for cameras. Same for sharing a FW chip - not for most cameras.
Just some things to think about.
Per Neale's suggestion, without PrE launched, plug-in to a FW port, and turn on the camera in VCR mode, and you should get that "bing-bong" tone from Windows. Check Hardware>Device Manager, to make sure that it is fully recognized by Windows. There is likely to be a pop-up too, though not always. This will keep PrE out of the mix initially.
Also note that some cameras are very sensitive to the order that things are done. The above method is for testing, and you may need to alter the sequence to get PrE to see your camera for Capture, like plugging-in the camera, but leaving it OFF, launching PrE, then the Capture module, and THEN turning ON the camera. As you can see, there are several steps, and their exact order can be important. Keep notes of which steps you perform and in which order. When you find the right combo, write that down and keep it taped to your monitor.
I agree 100% with Hunt!
The order matters of how one connects a camera or a camcorder to the PC with one's editing software. My Canon camera needs to be connected and turned on at a certain point in the process or I can't transfer images. It won't even be recognized. One has to try many things if one's device doesn't work right away.
I bought a new Sony HDR-XR500 handycam (AVCHD) two weeks ago and I know people fret around here about AVCHD, but I must admit that PE7 recognizes it every time and it works like a charm for downloading via USB. Phew!!!!!! The only thing I have to do is render the clips before editing. I'm quite happy with the new camera and I turned off the 5.1 sound. I could use a new PC, but at least I can edit my 5 minute clips.
I'm quite happy with the new camera and I turned off the 5.1 sound.
For most users, turning OFF the DD 5.1 SS is my rec. too. I find that too often, there is a ton of cleanup to be done, as unwanted signals abound. That becomes very, very difficult to totally impossible. The recording of multi-channel Audio is a very specialized task, requiring expensive mics, mixing consoles and a multi-track recorder, all run by highly-trained professionals. To me, it is a marketing ploy, and really does a horrible disservice to the customers.
Now, that comes from a person, who uses DD 5.1 SS in almost every Project. In my case, however, I am either using material from a sound team, or am doing "faux 5.1" from mono and stereo sources. The result on my DVD's is DD 5.1 SS, but it was never recorded on-camera.
Glad that you like your camera. The only real rub to AVCHD (here, or in the PrPro forum) is the processing power that is required. Personally, I think that if Panasonic's HD Intra-frame matriculates to consumer cameras, it will be the "face of the future" for a decade, or until a better scheme comes along. I thought that RED would be the wave of the future, but it is taking some time to catch on, and has a few issues. Only time will tell. Until then, I'm still a tape-guy, but I am old, set in my ways, and do things pretty much by the numbers, at least where Capture is concerned.
I'm glad to see you're still helping out as much as possible as an aside to your wine hobby! hehe Jokes aside (I can never put jokes aside!), but I see you are still helping out beyond king and country... ;-) Good stuff! hehe
Actually, I only read earlier today on the forum about turning off the 5.1 sound. I was suspicious of that in the first place when I got my new camcorder and I was glad to see it was mentioned here. Indeed, I bought that new Sony camcorder on a whim a few weeks ago, but I was FED UP of using miniDV tape. I'm basically recording fun ukulele videos for my involvement with the German Ukulele Club and I wanted to get rid of tape. Nothing wrong with tape, but I recorded a song on my Canon mini DV and I thought the tape had run out during my performance. Scheiße!!! Luckily, it hadn't, but my brain wanted me to fix the problem tout de suite.
Yeah, I'm a bit lazy and I saw the Song Handycam on special nearby my work. Yeah, I knew there are PE7 issues and PC requirement issues, but I did it. Luckily, it works for now. hehe
Here's my funny test for the German ukulele club. Though, I saved as an .AVI in PE7, the sound was great but I find the video on Youtube still fuzzy. Any hints?
Aufenthalt - Schubert excerpt on a Kala Jazz Tenor Ukulele
German Ukulele Club? I would have thought a bass brass band, or maybe an accordion club... Uku`le`le, the Hawai`ian stringed instrument, translated to "dancing flea," is something that I would never have thought of in GR. Great Rieslings and automobiles yes. Ukuleles, not so much. Guess I need to wake up a bit - get out more! Sounds interesting.
I do agree that long recording sessions can be a problem with tape. But then most are for other recording formats too.
Depending on the venue of these concerts, if you have the time, please do a test with regard to the DD 5.1 SS. I maintain that in a proper hall, with not extraneous noise, and a camera locked down on a tripod, the on-camera 5.1 can be effective. Most videographers do NOT have that sort of setting. Instead, they are in the park, the backyard, the pool, etc., and the 5.1 on-camera will pick up things that they do not want. Can you do one song with it, and then the same with only stereo? I'd be interested to hear what you think of the two. Obviously, for easy editing, one would need to start with a DD 5.1 SS Project, AND PrE cannot Export/Share to DD 5.1 SS, so only monitoring in PrE will tell the story. Your situation is possibly an exception to my statements, so long as the camera is stationary, and well-placed.
Were I doing a commercial shoot in your setting, I'd hire a pro sound crew, who would probably set up 3 mics in front, 2 PZM's, or similar for the rear corners and then maybe spot mics. for various instruments, mixing and recording to perhaps 8 discrete tracks. I'd take those and mix to my 5.1 SS Project for encoding to DD 5.1 SS out of Adobe Media Encoder in PrPro, through the SurCode DD 5.1 SS plug-in, locating each sound source to my ears. Obviously, this sort of control is not likely with on-camera recording, but I would be very grateful to hear your observations. I'm always ready to learn.
PS - attended a Riesling tasting on Sunday. Had some great QmP's, though 3 of the older ones had some form of oxydation. Two older BA's were still holding up nicely. If the host had accepted my offer, we'd have had a beautiful TBA from '76. Still, great fun, and I appreciated some of the flawed wines for what they once were.