Is this even possible?

[John Fishback]

I don’t know if you can output to an HDCAM deck via FW. BTW, has he viewed it on a broadcast monitor? I think it’s crazy for him to rent an IO-HD and an HDCAM to make the transfer unless he’s done this before. As you say, the best way to handle this is to find a post house in the area with FCP, a Kona (or similar) I/O device, broadcast monitor and an HDCAM deck. They mount his project and media and make the transfer. To speed things up (perhaps), he can export the show to an appropriate QT format (check with the post house) and bring that to a post house for transfer.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.8 QT7.6.4 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
FCS 3 (FCP 7.0.1, Motion 4.0.1, Comp 3.5.1, DVDSP 4.2.2, Color 1.5.1)

Pro Tools HD w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[Scott Douglas]

I believe he has a small 7 inch broadcast monitor that he can monitor everything on.

Are there any alternatives to the Io HD, and I’m guessing that the answer to him being able to go straight from the MacBookPro to the HDCam deck is a definite no?

Scott

——————–

check my stuff out at https://scottkdouglas.com

[Gary Adcock]

[Scott Douglas] “Is there anyway possible for him to go straight Firewire to an HDCam deck and get it to output properly?”

I do not know of any HDCam deck that supports FW for input.

“I assume a post-house would be easiest, would grabbing an AJA Io HD to go in between the MacBookPro and HDCam deck be an option? “

Aja’s IoHD,IoExpress and the Matox MXO/2 products all support playback of content from a laptop to professional decks via HDSDI or component, assuming that the DP has access to an HDCam Deck instead of one of the JH -series playback only versions.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Arnie Schlissel]

[Scott Douglas] “Is there anyway possible for him to go straight Firewire to an HDCam deck and get it to output properly?”

No. He needs to use some sort of capture card. On a MBP, he needs something that will connect Via firewire or Express Card. He can use an Io HD or Io Express, or he can use a Matrox MXO2, or mabye a MOTU V4HD or HDX.

But by the time he’s bought a capture device and rented a deck, his closest dub house or post facility could have laid it off to tape (including stock) 3 or 4 times.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[Dan Brockett]

Unless you have experience with it, laying back to HDCAM is fraught with ways to screw it up, you need tri-level sync, you must be outputting legal levels. This is a case where your friend should just output a QT or take his FCP project to a post house that does this. It will be cheaper, easier and less frustrating. If it is for broadcast delivery anyway, chances are that QC is required. If the show needs QC, it is easier to QC it before it is output to tape. Once again, almost all post houses that can do QC, can lay it off to tape.

Dan

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[Scott Douglas]

Thanks guys, you’ve been a huge help!!

Scott

——————–

check my stuff out at https://scottkdouglas.com

[Ben Holmes]

[Dan Brockett] “Unless you have experience with it, laying back to HDCAM is fraught with ways to screw it up, you need tri-level sync, you must be outputting legal levels”

Not true – you would be advised to use genlock (which does not need to be tri-level), but you can assemble record to an HDCAM deck without (assumes you don’t want to insert edit) and levels have no bearing on this – it’s an SDI signal. I recently laid off an hour of material in the field to an HDCAM deck with a single SDI cable and no genlock.

Laying off to HDCAM is no more fraught than a layoff to Betacam SP or similar. Knowing how to use the deck to set timecode etc. is not as easy.

Given that, An IO express and an HDCAM deck hire is the cheapest option – obviously a player/recorder not a J-series. However, if this material is for broadcast, I would recommend taking the completed edit to a post house to have them check it for levels (running it through a legaliser is the easiest fix for this) and QC it as well. Not cheap – but correct.

Ben

Edit Out Ltd
—————————-
FCP Editor/Trainer/System Consultant
EVS/VT Supervisor for live broadcast
RED camera transfer/post
Independent Director/Producer

https://www.blackmagic-design.com/casestudies/detail.asp?case=therydercup

[Michael Gissing]

Actually the HDW 1800 has a firewire In port but only for HDV data, not DVCPro codec.

Hdcam is more complicated than digi beta because you have many more options for input signal formats and the machine must be set right. Digi beta records in one format only.

[Dan Brockett]

“Not true – you would be advised to use genlock (which does not need to be tri-level), but you can assemble record to an HDCAM deck without (assumes you don’t want to insert edit) and levels have no bearing on this – it’s an SDI signal. I recently laid off an hour of material in the field to an HDCAM deck with a single SDI cable and no genlock”

That’s true but most deliveries that would be requesting an HDCAM master (networks/studios) require frame accurate layback to a specific time code point which requires machine control, sync, correct machine setup and often insert edits for revisions or QC fixes. Can you do what you did, only use SDI to a deck? Of course, but based upon delivery to broadcast outlets, you will quickly find that the method you used wanting in those situations. Perhaps if only delivering for dubs or DVD authoring, these factors will not enter the picture but for delivery to a network or studio, they do.

Dan

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