Baz Leffler
Forum Replies Created
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Thanks Shane – I am suspecting it only occurs with HDV as I tried it with a HDCAM (uncompressed 8 bit) sequence and it was fine. Also, sometimes when in the 5 sec frozen mode the image on the sequence viewer goes into strange colour mode indicating it couldn’t decode the HDV frame.
Baz
What would I do without the ‘UNDO’ button!!!!
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I use Media Express on a PC system for injesting HDCAM to go to Bluray via Encore. I try to avoid using Adobe Premiere as much as possible (buggy). Media express works great for my requirement.
Baz
What would I do without the ‘UNDO’ button!!!!
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[Liam Lawyer] “For someone who seems to have lots of issue with logic, you seem to lack it in your workflow for color correction. Logically it should be the last step in your edit, not the first or middle”
Where in my posts did I mention I was colour correcting before I had finished the edit? That IS the last thing I do or should I say the second last thing. The last thing I do is play it thru looking at the Tektronix waveform and vectorscopes and making sure FCP hasn’t messed something up!
And as for ‘having issues with logic’, that is the GREAT thing about ‘logic’ – there is no gray area; it either is, or isn’t. Well at least that is how it is from where I come from which is Vulcan.
Baz
What would I do without the ‘UNDO’ button!!!!
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[walter biscardi] “Again, what’s so ridiculous about this? You can’t have one filter operate differently than the others. It makes no sense.”
So WHY have a ‘filter’ that makes the clip ‘broadcast safe’ and then ‘allow’ other filters to negate it? It is not only ridiculous it is also illogical.
[walter biscardi] “It’s a filter, just like ANY filter you would apply in Final Cut Pro. What would make it any different? The order still applies.”
If Apple put some thought into it they could have made sure the broadcast filter ‘always remained the last’ in the chain. Maybe that is too logical.
[walter biscardi] “Again, what’s so ridiculous about this? You can’t have one filter operate differently than the others. It makes no sense.”
Why not? Is there legislation in place that makes it a criminal offence to do things logically?
So here is the strangest thing of all… WHY IS IT a filter and NOT a sequence setting? Then it would fit your rules and no one would have to go to jail.
Baz
What would I do without the ‘UNDO’ button!!!!
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[walter biscardi] “What’s ridiculous about this?”
Maybe you didn’t understand my post. You went on to repeat what I had already said about the ‘pecking order’. So I assume you either never read my post or you are showing off your knowledge. Yippee. Where is that an ‘opinion’.
What is ‘ridiculous’ is that it is NOT a broadcast safe filter. The ‘broadcast safe filter’ should be called ‘broadcast safe to here… (with no guarantee to what follows) filter’
A REAL broadcast safe filter when applied to a clip should make it broadcast safe REGARDLESS of what else is applied to it. Is that so hard to understand?
Baz
What would I do without the ‘UNDO’ button!!!!
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Thanks guys – it seems you all agree with my rationale.
My delima is a little more involved. We just finished a series with this producer and it was all shot on 4 x Sony Z1’s.
This new series has to meet Discovery Channels ‘silver’ spec so I (yes me…) recommended the Sony EX 1. At a meeting I was asked if the EX 1 was the basic same operation as the Z1 so the crew didn’t have to relearn everything. Of course I said “yes”. So my producer knew that with the Z1 you could do a Firewire downconvert and dub to PD150 so on ‘my’ saying yes to the Z1/EX1 comparison she assumed it also included this FW feature.
As an added bonus it seems they want network feeds for various formats including SDI (the easy one….)
Anyhow I have told her it can’t be done easily so I am putting together a ‘plan B’ which involves the ole MacBookPro solution as I have done in the past. Problem is I won’t be doing any shooting, just the post so I have to teach these on location people how to do it… ummmm I wonder how much a SDI to FW converter is…? …. and if they run on batteries…..
thanks for you sympathies – Baz
What would I do without the ‘UNDO’ button!!!!
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What deck are you using? Have you tried altering the edit delay parameter?
Baz
What would I do without the ‘UNDO’ button!!!!
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Dunno if this helps but….
I recently did with a job that had 4 projectors all needing sync pictures looping all weekend; without a break for recuing etc.
So I cut all the vision into a 4 way split HD project and played the finished product off a Macbook Pro and a MXO2 at the venue where each projector framed up a single quadrant. I originally was going to put it out to Bluray for playback but just couldn’t get the player to do a near seemless loop.Baz
What would I do without the ‘UNDO’ button!!!!
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[Michael Gissing] “Don’t sweat it though Baz, no-one seems to reject PAL tapes with -20dbfs tone anyway.”
Yes I agree Michael – in fact I got a QC report from OS recently stating…
“-20dBFS tone is incorrect for a tape of this standard”
I thought to myself, “what does that mean? Is the tape quality to high for a meager -20?”
Never the less, it didn’t get rejected, just a ‘mention’.
So all future HD masters I sent had -20 mentioned on the label.
[Michael Gissing] “At the end of the day, the tone reference on a digital tape is redundant but comforting to the old analog broadcasters.”
YUP! But WHATEVER YOU DO…. don’t let program content exceed -10dBFS!!!
Incidently most prosumer camera’s including the Sony Z1 tend to record audio 12dB too high and I am forever setting the master FCP faders to -12.
Baz
What would I do without the ‘UNDO’ button!!!!
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When I use FCP bars and tone for export to Digibeta and HDCam via my Decklink boxes I set the tone level to -20 which shows up correctly on the decks expanded level meters.
Remember FCP tone is 0db and digital requires -20 (debatable but I stand by those specs cos thats whats in my deliverables contracts!)
Baz
What would I do without the ‘UNDO’ button!!!!