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Edit to Tape off by approx 10 seconds
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Well I tried that and it didn’t help so I didn’t bother telling you.
Additionally, according to the Final Cut manual both are acceptable.
“To perform the assemble edit, do one of the following:Drag your clip or sequence from the Viewer or Browser to the Assemble section of the Edit Overlay.
Open your clip or sequence in the Viewer, then click the Assemble Edit button.Drag the clip or sequence to the Assemble Edit button.”
So anyway… solved the issue. I changed Servo Ref from External to Input video, increased the PreRoll from 3 to 10 seconds. These sets dramatically improved the timing issues. At this point we were only off by about 12 frames. So I adjusted the playback offset in the Device Control Preset editor.
Just did two 57 minute layoffs and they are 100% frame accurate. Success!OSX 10.6.4
2.66 GHz Quad Core Intel Xeon
8 GB 1066 MHz DDR3
FCP 7.0.2
Blackmagicdesign I/O Decklink HD Extreme 3D
SDI
AES
9 pin deck control -
There you go. Nice work.
12 frames seems like a pretty incredible offset, but hey it’s working.
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Oh, just saw your post Phil. Thanks. Changing the servo ref was definitely central.
OSX 10.6.4
2.66 GHz Quad Core Intel Xeon
8 GB 1066 MHz DDR3
FCP 7.0.2
Blackmagicdesign I/O Decklink HD Extreme 3D
SDI
AES
9 pin deck control -
There are those who will roll their eyes when they see me joining the discussion. I hate the ETT module with a passion and fury so purple that no colorist on earth will ever be able to fix it.
I wonder if your “miss” factor varies with pre-roll? Would it be different with a 10-, 5-, or 3- second preroll? In any event, though, I did experience a pre-roll oriented issue with Log&Capture about a year ago. To save some time, and because there were issues with broken time code on a source tape, I changed the pre-roll duration to something shorter — I can’t recall at the moment if it was much less than 3 seconds. What resulted is that about every eighth clip contained audio that was many frames out of sync. I suspect that it was a problem with ProRes, and its lead-time compression window. But everything with Final Cut is a deep, dark and un-addressed mystery.
Frankly, gamers get better service and support for their toys.
jPoYou mean “Old Ben”? Ben Kenobi?
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[Joseph Owens] “There are those who will roll their eyes when they see me joining the discussion. I hate the ETT module with a passion and fury so purple that no colorist on earth will ever be able to fix it.”
Deck control in FCP has always been a bit tenuous, whether it’s capture or layoff. It’s most definitely not a finely tuned machine. The manual does explain stuff pretty well, especially the calibration. For layoffs, genlock does help.
Broken tc sucks with no room for preroll, and FCP falls short on overcoming those hurdles. Fact of tape life on planet FCP.
[Joseph Owens] “Frankly, gamers get better service and support for their toys.”
Aren’t we all gamers of some fashion?
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[Joseph Owens] ” I hate the ETT module with a passion and fury so purple that no colorist on earth will ever be able to fix it.”
I’m with you there Joseph!
It’s our number one request to Apple every year… fix realtime I/O!!
Unfortunately Apples sees realtime I/O as a technology that is on the decline. We all know how Apple deals with such technology…
Apple’s RS-422 approach is brute force, basically over polling in an attempt to get in sync. If FCP would use the sync signal available to them, via a Kona card for example, they would be dead on every time. The problem is that would require Apple to use Aja’s API which of course would not work on Black Magic etc…
What I hope happens, with the next release of FCP, is that Apple offers an I/O plug-in API so Aja or BM can write their own ETT and Capture plugins that can talk direct to the metal, including the Ref input.
Here’s hoping…
John Heagy
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