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Live 4 Camera Shoot and Over Night Edit
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ok i understand. We all have back up laptops plus I guess we’d have to include an extra backup edit suite as well and monitor the live digitizing closely. Is there any other major problem that i’ve completely ignored?
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This is something we do all the time… I built a rack that will ingest 7 streams of HD-SDI directly into Final Cut. Most recently we used it to record the Stevie Wonder Gershwin prize concert in the White House. On that show they had a 12 hour turnaround for a 1 hour long 6 camera plus line cut edit. We delivered them 7 FW800 hard drives with all the ISO’s.
Send me an email if you are interested… we rent our systems all over the country.
Sandor Bondorowsky
Remote Digital Media, Inc. -
Hi,
Just to update everyone on the progress of this project, we successful completed this Wednesday into Thursday morning last week.
We went for a 3 camera setup into a PPU unit with each going down to individual DSR-2000 deck ISO. As well as this we had a live mixer who mixed the cameras down onto a separate DSR-2000 ISO which I digitized straight into FCP as an uncontrolled device. At the same time we had a logger (the client!) down with us backstage who logged the ins and outs of the key parts of the conference. We gave her a preview monitor with the mixed camera feed and timecode on for her reference.
During the 4 hour conference, we had a 20 min break halfway through which meant I could rush the first half upto the editor in the edit suite with logging notes for her to start work on.
Most of the graphics and project outlines had been compiled the day before so we managed to complete the whole edit in little over 12 hours. For the awards ceremony, we agreed to use only stills for this section but used prepared graphics to announce the short list and winners.
The total running length came to around 24 minutes which was 4 minutes over the 20 minutes we were aiming for but got by on that.
We completed the edit and signed off for around 4.30am and then delivered a mastered DVD to on site duplicators at 6am in the morning with them duplicating 450 copies for 9.30 am.
The main time consuming aspect of the whole project was the client deciding which bits to cut getting down from the 1 hour 10 minutes she originally logged to the 20 (24) minutes running time.
The main thing I have to admit which let me down on this project was Final Cut. Now I do love FCP. I’ve always used and will carry on using it but for the application working from live feeds, it really let me down. For one, it wouldn’t capture the live timecode coming from a TCG so time had to be spent syncing the footage with the timecode on the tapes which was time that really could have been used else where. Secondly, and more importantly I thought, FCP for some reason cranked the gain in the picture up by around 6dB. This wasn’t just because of the screen we were viewing it on as we had an experienced racks guy monitor the footage on a vector scope. To combat this we had to combine asking lighting to lower the light level by around 20%, getting the iris on the cameras lowered, fiddling with some bizarre settings in quicktime and using color correction on the footage and I am still positive I wasn’t getting the same signal on my timeline as I was seeing on the grade 1 preview monitor on the PPU.
In future when we do this job, I am going to have to look closely at other products such as Premiere Pro and maybe even Avid (budget permitting) as I can not justify paying close to £5000 on PPU’s and online color correction facilities if Final Cut can not process it correctly.
I’d love to hear comments on this.
kind regards,
Jon -
FYI: You can get matching timecode to the FCP capture now mode by converting an LTC TC into RS422 and tricking FCP into thinking it is recording a VCR. Then your switched or iso TC will all match up. Use the Adrienne AEC-uBOX-2.
https://www.adrielec.com/aec-ubox.htm
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City
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