Ben Holmes
Forum Replies Created
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Wow. There’s a 4-slot version of this thing. Interesting to see what you can actually do with an expresscard interface…
Editec Broadcast Editing Ltd
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OB Server 1 HD – Mobile FCP editing done right.
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You need that computer thing he had in Bladerunner. It was voice activated and everything.
😉
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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[GivingItUp] “then remove those created files from the RENDER folder, put them in CAPTURE SCRATCH”
No – the render files are not useable as stand-alone video files – you need to export the rendered clips via the method cofe describes so well.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Absolutely. Any camera with HDSDI output, DVCProHD or otherwise, can be captured in the field with a laptop and an IO-HD, as long as you can live with a cable. This ought to look great. Don’t forget you also have the option with some HDV cameras to use the IO-HD to capture ProRes via the HDMI connection, again allowing you to avoid the HDV compressed stream. Can’t wait to see how that pans out.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Quality will be better dubbing direct from Beta SX – it’s a bigger colourspace (can’t remember the exact spec on SX, know it’s more compressed than Digibeta at around 5:1), but it general you should ALWAYS digitise from the original format.
Be suprised if it doesn’t improve your keys – DV formats are not good for clean keying, with bad colour depth.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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You may have tried everything but is deck control on? Is it set correctly (you can pop open log and capture to check)? Is RS-422 cable on correct port on tape deck.
Sometimes we miss little steps. However, I have had edit to tape not respond before. Usually a restart cures it, or trashing prefs.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Gotta agree with Zak. See this as a chance to clean up and reorganise your media. Just be aware that if you renamed items in your browser after you captured them, that relinking the media may not be straight-forward. Thankfully FCP6 renames original files if you rename the media, so this may avoid the problem for future projects.
PLEASE when you start again, get all your media off your system drive. It’s a bad idea for so many reasons. You need to keep media on media drives. We all do it sometimes for a short while, but you should never make a habit of it. I think this exercise may demonstrate why it sucks.
I would never change machines or software versions in the middle of a new project if I could help it, btw. It’s never a good idea.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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In SD, 16:9 is (in the vast majority of formats) anamorphic. This means that you are squashing the picture horizontally, so that your widescreen TV can stretch it back out later for that ‘cinema’ (chuckle) experience. Of course, this means that the widescreen TV is lowering the horizontal resolution, but it’s much less visible than the loss of vertical resolution caused by outputting a 4:3 letterboxed movie, which the TV then has to stretch in BOTH directions to fill the 16:9 frame.
Your choice will depend on how you expect the DVD to be viewed. Note that if you produce a 16:9 DVD, the player can be set to crop the image to fit 4:3 TVs for playback. This means that whether you watch it 16:9 or 4:3 the full vertical resolution is kept, but also means that you need to maintain what is called “4:3 safe”. This means keeping the two sides of the picture that will be cut off by a player in 4:3 mode clear of either graphics or pictures you need to keep in view. All widescreen programmes for broadcast in the UK, where I work, have to be made 4:3 safe, so name graphic/titles etc. are not cut off by older TVs, and means you should avoid shots where important action takes place on either side of the screen – for example, if you have a shot where two people are talking, you should ensure that they are not both on either edge of the frame, but within the centre 2/3rds (or there abouts) of the frame.
Now – if that isn’t too much info, I don’t know what is….
Ben
PS – Short answer – keep it 16:9, but keep it safe…
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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Of course, it won’t allow you to see or hear it properly.
Why not just have one less cup of coffee and watch it at normal speed?
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
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[Wayne K 123.] “What exactly is 1/2″ tape, please?”
Tape that’s half an inch wide.
NEXT!
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.