Aaron Neitz
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After Effects Coin
Forum Replies Created
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Yes.
If I take the loop out FROM the monitor, which is snow, the LOOP is a good signal. Somewhere in the SDI decoding the board is failing. It’s at least 8 years old, I imagine it just died.
Now here’s a question. Is there any important difference in monitoring analog RGB versus YUV? This is my stopgap for now – Component on a BVM monitor looks better than SDI on a PVM
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I can’t say for 100% certain, but I believe rendering Motion templates in Final Cut are EXTREMELY slow. Better to render them out from Motion as Animation + alpha and import into FCP.
Hopefully someone can back me up on that.
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Sounds like you’ve got Preset code going down on a striped tape.
Re black the entire tape. Set deck to INT timecode / Preset / LTC and VITC.
Then when it’s finish set deck to INT timecode / Regen / LTC and VITC
Also what is your reference setup? Try setting deck to Input Video and make sure there’s not a signal loop going back to Kona. So Kona is plugged into deck and deck in NOT plugged into Kona.
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you need to be working in a ProRes timeline. Timelines should generally match your footage exactly. give that a whirl
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I feel your pain. I’m in the same boat as I use FCP as my backbone for finishing. I’ve just gotten used to hand reconnecting… or when the offline editor updates the cut in the middle of finishing, I have him bring all his changes to the top video layer so I can ID them and batch digitize clean media.
It’s one of the great features of our Flame – EDL’s connect based off reel and TC. But that’s also a $60k piece of software.
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Unfortunately FCP doesn’t do this. It reconnects based off file name and it derives the IN point from the start of file.
You’ll need to bring all the clips in, and hand cut them over the EDL.
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They get expensive FAST when you add all the good stuff like format converter board, legacy format boards, 444, etc…
But these new options on the 5800 sound stellar! thanks Kevin
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totally, the Log and Transfer option is going to be AWESOME.
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I have to second Walter here. XML’s from a 6.0.2 station to another 6.0.2 station are 99% accurate – but we caught it grabbing the wrong in/out frames on occasion.
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RED really is amazing stuff. In a way it’s even sharper and more detailed than 35 since there’s no gate jitter, no grain, nothing other than pixel for pixel data.
The post workflow is still a bit all over the place – but it’s more a function of the sheer amount of options you have to convert out footage than anything else.