[Andrew Rendell]

Well, the ITU is an organization of TV broadcasters, so their focus is on transmission requirements, and BT.2020 was published in august 2012, and presumably negotiated over a couple of years prior to then.

I don’t think many films had been made in 48fps at the time, so it probably just didn’t figure in the list of things to decide whether to adopt or not.

Just a guess, though.

[Andrew Rendell]

I’m not really sure what we’re talking about, the benefit of using graphics is to show rather than to tell, and highlighting words on a screen isn’t really illustrating anyway.

TBH, it might be the case that some particular information is best conveyed by text document, but in many (perhaps even most) cases a picture is more revealing than words and moving pictures more than static ones.

I guess that no graphics probably means filming examples, which of course has a budgetary implication, but that does rather depend on what it is you’re trying to illustrate.

[Andrew Rendell]

How do you value your time?

For me hard drive space is cheap compared with my time, to the extent that buying another couple of terabytes is always preferable to rendering every time I make a change or sitting in front of a spinning color wheel waiting for the mac to respond.

[Andrew Rendell]

It’s been known for a long time that our perception of what we hear is deeply effected by what we see, e.g., the McGurk effect https://www.youtube.com/watch?v=G-lN8vWm3m0

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Andrew Rendell]

I rather agree with Bill, I see it’s a FET+bipolar design and I think it’s the kind of thing you hear when the supply or bias voltage is screwed.

Intermittency might mean it’s a cracked track or dry joint rather than a failed component, but that’s something of a guess (partly informed by my experience that physical shock is more likely to cause a failure in the wiring / connectors than component failure these days). So, stumbling in the dark really, but my gut feeling is that if an engineer looked at it on the bench they might identify the problem with a magnifier and AVO meter without needing to turn the scope on.

[TBH, my experience of “front line maintenance” (wielding a meter and soldering iron to keep tape decks running) is a good few years past, I only really get involved at component level with electric guitars these days, so please don’t take this as anything more of a diagnosis than a possible sign post.]

BTW, the Scarlet 2i2 should let you monitor it’s input without going through the computer – that would be a very good thing to do (plus it’s another way of eliminating any other possible source of the problem, e.g., if it sounds ok there but you get a distorted recording then the problem isn’t with the mic – it’s very easy to assume that the problem is at one point in the chain without actually eliminating everything else when something like the mic being dropped makes it “obvious” that’s that’s what must be wrong).

[Andrew Rendell]

Thanks for posting that Ty.

I now want one just for the beauty of the AT8480 Mic Clip

😉

[Andrew Rendell]

[Michael Pike] “- lossless capture essential”

Lossless capture means your choice is limited to the likes of Matrox, Aja and Blackmagic. Prices start at around three or four times your budget though.

Since your spec includes YUV=4,2,0 (which is by definition lossy), I assume that lossless means no motion artefacts and no apparent loss of sharpness, rather than no compression. That means that codecs like ProRes, DNxHD, XDCamHD and high data rate (say, 50mbps or above) AVCHD should be ok in my opinion (if you’re cutting in FCP then it’s logical to go straight to ProRes if you have that option).

[Andrew Rendell]

The last time something like that happened to me it was a clip that had been brought in at 44.1kHz, so the first thing to check is that the clip is 48kHz, 16bit, uncompressed.

[Andrew Rendell]

[Rafael Amador] “if the file was Progressive, there is no way to mess up with the fields order.”

I think you are making the mistake of assuming that play out technology is similar to edit suite technology and that the people who operate it are similarly technically adept as editors. The first one isn’t true and the second can’t be taken for granted.

I have seen files transmitted where the fields were wrong, so for example line 566 was above line 3 instead of below it, so to imply that that’s impossible is deeply mistaken.

I learnt a long time ago to deliver precisely the specification that is requested. That’s the only way for it not to be my fault when things go awry somewhere along the line.

[Andrew Rendell]

[Rafael Amador] “You will lose one generation”

What do you mean by that ?
Digital video doesn’t have generation loss unless you process the pictures in some way, e.g., transcoding to a different codec.

We’re both effectively saying don’t change it.

I’m really only adding that I’d make it into an interlaced file myself, inside the NLE, rather than giving it to the channel as a progressive file, and that’s because a couple of years ago I delivered a progressive file to a broadcaster and their playout screwed up the field order and caused a load of grief going backwards and forwards trying to apportion blame – in the end I had to hold my hands up and take responsibility because I hadn’t delivered precisely what their delivery spec was.