Baz Leffler
Forum Replies Created
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Well just to be different, I run all Blackmagic Multibridge Extreme’s here (3) and I can honestly say there are more problems with FCP than what there are with BMD but then FCP has a lot more in its software than BMD. But in all honesty its the best interface I have ever had.
Baz
What would I do without the ‘UNDO’ button!!!!
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Good point Michael but I guess its all to do with tools and workflow.
I never go to audio post until the show I am working on is locked off.
And my technique works perfectly with my audio suite which runs Neundo 4. The second OMF imports perfectly into position alongside its matching OMF’s
Baz
What would I do without the ‘UNDO’ button!!!!
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[Shane Ross] “duplicate the sequence, then delete everything you DON’T want to export.”
What I do is just disable the second half of the tracks and export an OMF and then re-enable the second half and disable the first half and export a ‘B side’ OMF.
The last project I did I had to break it down to quarters (if you get my drift).
Baz
What would I do without the ‘UNDO’ button!!!!
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Hey Greg – I suffer the same problem of accidentally clicking another tab and if I look away momentarily while doing it then back at the screen I get totally confused not remembering what I was suppose to be doing!
I also use Nuendo 4 as an audio program and that lets you click anywhere in open space within the timeline and it will move the playhead to it. It is hard bouncing back and forth between the two programs.
Baz
What would I do without the ‘UNDO’ button!!!!
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Oli – I don’t know the Axio but I regularily do frame accurate edits to tape without genlocking the deck to reference black. I use Final Cut Pro and Blackmagic boxes into HDW1800 HDCAM decks (pretty much the same as the 2000 deck).
All I do is make sure the deck is locked to ‘incoming SDI’. Edit to tape accuracy is normally a product of the edit software/edit hardware interface deck control plugin. I use to have all sorts of problems with Adobe Premiere and its interpretation of ‘accuracy’ and would never use its built in rs422 control always opting for the plugin that came with the hardware; in my case the Blackmagic deck control.
But if you are going the black reference thing just make sure it is feeding both the Axio reference input and the decks reference input. As a test, after you set the deck to ‘reference input’ as its sync source, playback your timeline and remove the reference to the Axio and you should see the signal thru the deck go unlocked vertically (you may have to do it a few times before you notice the error). This will confirm that the reference signal is indeed doing its job.
Baz
What would I do without the ‘UNDO’ button!!!!
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Just as a FYI you can add timecode and reel info after capturing in Media Express using Premiere or Final Cut Pro. All those programs do is write the appropriate info into the header of the captured file.
So as you are capturing from a known timecode number it shouldn’t be a ‘guesstimate’ as to what the starting timecode should be.
The problem arises when there is a timecode disruption/break/jump. This would require capture segmenting and a lot more code; I guess that would be something you would have to pay for….
Baz
What would I do without the ‘UNDO’ button!!!!
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[Jeremy Garchow] “Did this project start on FCP6 by chance?”
No – it was “FCP 7/Color 1.5” all the way.
What would I do without the ‘UNDO’ button!!!!
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I have this unit and HD always studders using memory stick. It plays fine off a hard drive. It obviously can read the data much faster
Baz
What would I do without the ‘UNDO’ button!!!!
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Thanks for the file Paul but it was the same as the one I already had in the folder but I installed it anyhow and didn’t fix the problem.
I am amazed there is not more comment about the Sony J3 deck as its sole purpose was for injesting into NLE.
I always use this deck with my FCP and CS4 systems without a hitch. I guess it will have to be the A500 deck exclusively for Avid injests until I find a solution….Baz
What would I do without the ‘UNDO’ button!!!!
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[Stuart Bruce] “point 1.1 on the BBC’s HD guidelines is that delivery has to be HDCAM SR, and that non-SR is no longer accepted.”
Their spec says “delivery has to be HDCAM SR” NOT acquisition. The MAIN reason they want HDCAM SR is for all the audio tracks. When supplying masters on HDCAM there are only 4 audio channels but SR has 12. HDCAM’s had to be delivered with DA88 digital 8 track tapes with the audio split outs and/or 5.1 discrete channels but that can all be contained on a HDCAM SR.
Sure there is a higher video quality with SR but it is a real pain using it in acquisition due to the need to have camera/deck splits. Also, by the time the BBC has sent their programs to transmission points they have to compress it to fit it in the pipe BUT they still need the extra audio channels regardless of vision.
What I have done in the past was to create my master HDCAM and DA88 and send that off to a large post house to create a self contained HDCAM SR master. My next purchase is an SR deck but not in the near future.
Baz
What would I do without the ‘UNDO’ button!!!!