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HDV questions..
(posted earlier but got no response, am I in the wrong forum?)
I have some problems with HDV material in Final Cut. The program always has issues capturing HDV material. First, it never can locate timecode properly. If I type in timecode, it will go to the exact frame on the tape, then give me an error saying it cant locate the timecode. If i log a clip then attempt to capture it the software never can get it. Either it will fast forward the tape well beyond the frame I set it to start at, then rewind past it, then go frame by frame until stopping exactly where I tell it to, then will give me an error that it can’t find the timecode. Or today it jumps to the in point of the clip, then acts as if it is capturing the material (by playing the tape at normal speed) but does not capture anything and continues playing the tape until it will reach the end, then yet again gives me the wonderful ‘unable to locate timecode’ error.
I have been working in this program for a few years now and I can honestly state that every day has been a new and exciting set of useless problems to solve. I simply cant wait to be back in adobe premiere…
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8 Replies
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[gorgonzollas] “I have been working in this program for a few years now and I can honestly state that every day has been a new and exciting set of useless problems to solve. I simply cant wait to be back in adobe premiere…”
Welcome to the fun world of HDV. This is why I don’t work in that format. All HDV footage that comes in the door is converted to DVCPro HD during ingest via our Kona boards. We have zero issues with HDV footage in our day to day workflow.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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No dubbing involved. Kona does the conversion on-the-fly.
Steve Eisen
Eisen Video Productions
Director-At-Large
Chicago Final Cut Pro Users Group -
[Dave LaRonde] “Does this mean that you capture entire HDV tapes as a single DVCPro HD clip to avoid the problems of searching for a particular HDV time code?”
Nope, you capture as normal. Kona converts the footage to DVCPro HD on the fly.
What makes this better, is that the deck is under Firewire NTSC control INSTEAD of HDV control. Much more precise and far less prone to the “Timecode not Found” and other TC errors that are so prevalent when controlling the deck in HDV mode.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[gorgonzollas] “I have been working in this program for a few years now and I can honestly state that every day has been a new and exciting set of useless problems to solve. I simply cant wait to be back in adobe premiere…”
Good luck with that, HDV timecode has as many issues in Premiere as it does in FCP, it’s inherant in the format.
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So, there is really no solution to the problems I’m having, I just have to try to deal with it?
Also, on premiere I haven’t had nearly the amount of issues as with Final Cut, but I am sure that they come up.. I simply like the way that all the Adobe prducts talk to each other..
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[gorgonzollas] “So, there is really no solution to the problems I’m having, I just have to try to deal with it?”
If you’re going to work in HDV, yes, Timecode is VERY fickle, that’s why most of recommend you do NOT edit in HDV, edit in DVCPro HD instead.
[gorgonzollas] “I simply like the way that all the Adobe prducts talk to each other..”
You mean like FCP, Motion, Soundtrack Pro, Compressor, iTunes and the like? Pretty soon you’ll add Final Touch to that list. Add Automatic Duck and you can seamlessly move your timeline to After Effects.
Switch to Premiere if that’s your preference, but FCP can move projects around pretty well too. I applaud Adobe’s decision to bring their suite back to the Mac and hope they do well on their return.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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My suggestion to you is…
Dub all of your tapes to new tapes with continuous timecode (meaning pre-striped tapes), then you can drop your original tapes on the shelf for safe keeping while using your dubbed tapes for capture. You can do this by firewire to firewire dub.
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Wayne Carey
Schazam Productions
http://www.schazamproductions.com -
I had a bigg-ish (more than ten pounds) project entirely originated on HDV. Ingested tape-at-at-time in native Sony 1080i60 via FireWire, breaking the material into clips at the stop-starts. I re-connected the material to the off-line sequence (this was a conform), media-managed to UNCOMPRESSED in a new project, colour corrected under FinalTouch, and there it was. It did take some tweeking to match the images with the off-line as I did experience some timecode wobble, up to plus/minus 4 frames in some cases. I was also suspicious of the audio sync coming down the FireWire (!), but eventually all issues resolved.
This kind of worked for me, but its probably not for everybody. Going the uncompressed route was mainly done to avoid a succession of codec translations, and eventually the whole works needed to be exported as a dpx sequence anyway. Which I’m doing as I write this…
JPO
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