Andrew Rendell
Forum Replies Created
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IIRC there is a menu setting on the BVW series for blanking lines in the vertical interval, so you should be able to undo that if you go through the menus (I can’t remember exactly where it is, sorry).
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Well, logic would suggest that you’d need to speed up by 166.6666666666666666 (etc) %
so 165% would be close enough (i.e., it would take a while before you’d notice it slipping) -
The i7 is quite a big step forward compared to the Quad core Xeon, so I’d expect to see an improvement there, plus a new MBP gives you access to Thunderbolt, so if you’re going to update your laptop anyway, I’d be tempted to go that way.
As for having a MBP as my only Mac… not quite so sure… but then I use a MBP for editing mainly because I take it places, so I am routinely accepting a small risk of loss/damage/breach of privacy.
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Oh and by the way, check which safe title area you’re supposed to use. It’s still sometimes 14:9 safe for the sake of SD transmission.
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A regular clock is like this:
https://www.planetmov.com/Stock_Footage_Elements/Vt_Clock.html -
Hi, one for me I think… 😉
1) Yes, that’s what it means
2) The fade does refer to the audio. The vision hold is so that they can extend the picture on the screen if, for example, they’re doing a voice trail to the next item and it goes over the running time of your programme, without ever going to a black screen. So, no you can’t fade the vision to black.
3) They’re not fussy about you using their ident clock as long as it conforms to their requirements and the information is clear (I can’t see a clock on their website at the moment – it has 30sec at the bottom, going clockwise round to 0sec at the top but cutting to black at -3sec on one side of the screen and space for you to type in the programme details on the other, I’ll post a link when I find one). I usually master at a facility, so I tend to use whatever clock the facility has on their server at the time.
4) They’re quite stringent on tech levels, so watch out for Black, White, Saturation and Gamut (if in any doubt play out through a legaliser, but try to avoid letting it clip anything substantial as that’ll affect the subjective 1 to 5 assessment). Sound levels are very strictly nothing over PPM6 (0 level/PPM4 is -18dbfs in the UK).
I usually have my sound mixed by a dubbing mixer (you can expect a professional sound suite to have PPMs) but when I mix myself I use PPMulator via Audio Hijack Pro on the Mac to see my levels and that hasn’t let me down yet.
A Harding PSE check is a very good thing to get done (speak to the facility of your choice about it and include the report when you deliver), but you can sometimes get away without one if there’s nothing obviously flashing in your programme.
In my experience they’re pretty hot on tech reviews but if you get a failure don’t panic, phone the tech manager and talk to them (their name and phone number will be on the rejection slip if that happens), they’re generally sympathetic if there’s a legitimate reason for something being less than ideal. They might decide to accept after all if it’s marginal (e.g., some poor quality archive or internet sourced material for which there isn’t a better quality version available) or they might tell you what you need to do. If you’re not technical it might be worth getting someone who is to make the call on your behalf – I’ve done that a few times for producers and production managers who aren’t particularly confident about that.
I’d say their attitude is generally “firm but fair”. TBH, Channel 4 and ITV can sometimes be more difficult than the BBC to deal with over technical stuff.
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[Rafael Amador] “What i mean is that going NTSC to PAL, beside the geometry change, in the end is all about discharging information.
No in-between frames need to be generated.”Yes, I’m talking about going from NTSC to PAL as well. But the point I’m making is that your (or my, or anyone else’s) personal opinion of whether a jerky frame-dropped transfer from 30 to 25fps is good enough is irrelevant if it’s for broadcast as the broadcasters’ technical requirements are for motion predictive conversion, so if you don’t do that you’ll fail the tech checks and the programme will be rejected.
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It’s not the only choice. There’s a certain logic to using raid, because it’s a good system for working so when you go back to it you just plug it back in and you’re working straight away.
If you don’t mind moving files around there are alternatives; for large amounts of data (which is really what we’re talking about) tape drives are pretty safe, or cheap USB drives might fit the bill if you store them carefully. You’ll just have to copy the files back onto high speed drives to work with.
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DV is going to be interlaced, which shouldn’t be a problem, but if there’s a field dominance error then the process might go wrong when you export a progressive file – it’s possible that each frame is being made from a field 1 of one frame and a field 2 of another (either the previous or the next). Have you tried the field shift filter to see if that makes any difference?
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Depends on what the final use will be. Dropping frames will get you a technical fail every time at a UK broadcaster – it has to be motion predictive to get through over here.
OTOH there’s no point in going to the expense if it isn’t for broadcast on regular TV.