Ben Holmes
Forum Replies Created
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Sorry, meant to say, you have Decklink extreme? That’s an SD product, which will allow you to EDIT in HD and view it in SD (as long as your system keeps up). You will need a card with an HD-SDI output such as the Decklink HD cards or the Kona 2/3 (both of which are excellent btw) to output to the M2000. The workflow to and from tape is then identical to working in SD.
If you want to shoot and edit in a ‘proper’ HD format, bear in mind you will need a disk array that can cope. Dual 320 scsi or Fibrechannel usually does it. Hope I’m not just telling you stuff you already know.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
Why not quote them to shoot it on DVCPro HD? Or HDV? Both these formats have a Firewire ingest option, and you’ll get the frame resolution from the start. Not that either are a patch on Varicam or HDCAM once you start processing them, but then the latter two require expensive tape ingests and expensive camera hire costs. As a bonus, both look good when outputted as SD.
Just a thought.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
Oh – Is THAT what caused it. Only use HDV once in a while, so I thought the whole process was just a bit buggy. I wondered why the problem went away….
Always nice to find a solution to a problem you weren’t looking for. Now if someone can explain why HDV has it’s own Log and Capture ‘look’ I’d be grateful!
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
[Matte] ”
The TC window dub, or
I’ve got dropped frames, or
I can’t see my output through the camera, or
my FW is not responding, or
why does my effect look bad in the Canvas, or
my timeline stutters, or
my slo-mo looks bad, or
what DPI is best, or
can I filter my bad audio, or
my audio is slipping, or
my Wide Screen bars move, or
my titles look bad, or
I can’t hear audio during capture, or
how do I make a freeze-frame, or
how do I blur a face, or
how do I import a DVD, or
how do I capture 4 channels of audio, or
how do I get a better green-screen, or
why can’t I add a dissolve between clips, or
(my personal favorite) how do I make my video look like FILM…”Now, every time some poor schmuck DOES a search, the first thing they’ll find are these two posts…
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
It’s a nested sequence kinda night….
IMHO, nested sequences cause no end of problems especially with attempts to media manage. When you drag a sequence into another, you create a new version of it that exists as ‘sequence x in sequence y’ in FCP, in the same way as ‘clip cam x in sequence 18’ is different from the original ‘clip cam x’ in the browser.
If you REALLY want to avoid these problems, select all, copy and paste each interview (in it’s original multi-clip, multilayer form) in turn into a new sequence, so you have a master, un-nested ‘compile’ sequence. It won’t take long once you get into a rythym.. Less time than recovering and recapturing your lost media, anyway.
Nesting isn’t FCP’s greatest hour, is it? It may be that 3 hours of completing links in a DVDSP project has warped my fragile little mind, however.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
Bob
No problem – and it’s great to have a newer pro user’s perspective, just as ppl coming across from Avid/M100 etc. bring their own system issues into FCP. You said your last system has been canned – hopefully FCP is here to stay, so stick at it, you might learn to like it…
Can I add to above that I HATE the miserable speed-change implementation in FCP, something that AVID does so much better. It annoys me, because interpolation is so EASY to deal with. We use EVS replay systems for broadcast that have had excellent smooth slow-motion for 6 years, and have become the OB industry standard because of it- and they do it in REALTIME. And they’re made by a bunch of crazy Belgians. In a forest. Sort it out, Apple.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
Can I suggest (if you havn’t already) that you post in the Kona forum – perhaps the issue you have is version-related, possibly the Kona drivers, or FCP or QT (or combination of each/all three).
I have found Kona/AJA customer support excellent in the past, and worth a contact.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
Could the problem be to do with playback rather than the file? Have you tried putting the exported QT into a new Kona HD project to see if it’s a playback codec issue?
As a Kona 2 user, I’d like to know how you get on – keep us posted (and give us your system details).
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
Walter’s right – no need. Can I just add that sometimes I have found nesting causes instability in FCP – I’ve noticed a few out of memory errors after doing it. Don’t forget that nesting in effect causes you have MORE open sequences, something that inevitably places more load on the system.
So – in effect, nesting is more likely to make the print to tape process LESS stable. Whilst it may give you a neater looking timeline, all you’re doing is sweeping the mess under the carpet, not actually clearing it up.
If you have problems with your print to tape, instead of nesting you should export the timeline as a quick time movie (current settings) and place the resulting single clip in a new timeline – if you have the spare capacity on your drives.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk -
[Bob Flood] “3. invisible frames: there are situations when for what ever reason there are single frame remnants of clips in the timeline but they are invisible. you can usually tell they are there when you try and put a transtion in and its only one frame long. lets fix the gui, guys”
Again – tried to duplicate this and can’t at the moment. Have you tried a search to see if anyone else has reported it? See if you can give us a step-by-step to creating one, then someone can probably sort this for you. It MAY be FCP, or it MAY be your own methodology for replacing shots – I speak as one who is self-taught….
I’ve used most NLE’s for at least some time, and they all have drawbacks and workarounds that are required. I think the problem with some of the options you mention (such as the last-frame on the out for example) are that the user interface becomes infinitely configurable and hence infinitely complicated. Also, that in a pro environment, each system will be used by a number of users, who need to be able to work with out re-setting endless options. It also makes a system far more daunting to pick up and play with. Above all, what Apple wants is a user base within the pro and semi-pro communities that is as large and broad as possible – so they can sell more computers, right? So you make it as simple as you can, whilst still making it a powerful product.
I’m no zealot – I just want the job done, but for my money, FCP is the most elegent and accessible GUI in the market, and whilst the bugs will eventually be gone (let’s not forget a bug is never a simple one-line fix) the experience will NEVER be all things to all people.
Ben
Editec Broadcast Editing Ltd
EVS and FCP specialists
Current Mac systems All Dual 2.7Ghz with Kona 2 and Digital Voodoo cards, 6Gb Ram, Sapphire, SCSI320 Medea and Huge Arrays.FCP projects include Sky TV coverage of the Ryder Cup and US Open Golf – Live OB specialists. Edit/slomo vehicle.
http://www.editec.co.uk