[Bill Russell]

Hi, thanks. It is actually not time-of-day tc. Seems to be natural on/off camera breaks (there’s not black, no signal breaks) are enough to stop the Adrenaline.

As far as your suggestion, I already tried deincrementing the out times, but there is no consistency how far the next slate is in after the break — sometimes a few frames, sometimes 20 seconds. Start times not a problem, since always on the slate.

Darn it — FCP handles this easily, you just tell it to ignore breaks. Yes, there can be sync issues, but who cares when the breaks are at the end of clips. I wish there was some way to force the Adrenaline to keep the material. Oh well, there goes all my logging. Stewing…

(But thanks as always for the support!!)

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[Bill Russell]

How do I make the out-points befor the TC breaks on footage that’s already been logged? Are you suggesting revisiting each entry again, with tape in the machine? Wouldn’t that be nearly the same as relogging from scratch?

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[Bill Russell]

So, would I be better off using DNxHD “175 x”, which is 10 bit, instead of “175” which is 8-bit (as in, better Avid filter and effects rendering?) Now, to be sure, right this very moment, I’ve rented a room and capturing the HDCAM tapes to SATA drives, DNxHD 175. I hear through the grapevine that Xpress Pro only does 175 and not 175 x, so I’m wondering if I’m taking a hit with that limitation.

Yes, I know I *should* do no filter or effects at all, instead should do what you said above (D5 to DaVinci)…. but, I might have to be a bad person and do some select mangling beforehand. Certainly, there are some After Effects special effects will be doing. Am I in trouble affecting DNxHD media in 8-bit environments (for media that will eventually go film-out)?

Thanks for everything, professor

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[Bill Russell]

Thanks for your help! Okay, so…

Nnnnnhgh. All that slate-to-slate logging (already named with scenes and takes) goes down the toilet? I have to subclip and log the media again? Oh, the mighty Avid…..

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[Bill Russell]

Thanks. It’s nice to feel educated.

So I guess HDCAM “cloning” at a place like Lightning Dubs isn’t really “cloning” (unless they do that propriety Sony thing instead of SDI, I don’t know what they do). The best would be to dub up to SR, and I’ll have to check that price. Anyway, sounds like even mild color pre-correction and other FX in Avid, with the DNxHD, is maybe something not to do, because loss starts to happen; but rather, export to 4:4:4 and stay uncompressed NLE (which I can do during online nearby, using FCP / Color Finese), or otherwise lay the finished show 4:4:4 export file to SR and work in a linear fashion at some studio? (This will all end in film-out.)

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[Bill Russell]

Thanks Jim! That’s actually what I ended up doing. But I’d still *love* to know how to use motion tracking with cloning — it just mystifies me. I know I’m missing something simple, just can’t for the life of me make it work right.

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[Bill Russell]

Thanks for the white paper. Yup (page 8) it seems 175 for 23.976p is the same top quality as 220 for the higher frame rate of 29.976. It would make sense, considering how HDCAM captures different frame rates — each frame is same chunk of tape signal regardless of rate.

In regards to HDCAM being not uncompressed (yes, isn’t it some kind of weird 3:1:1 at 135Mb/sec on tape?), but when you suck it out SDI, what’s written to disk is uncompressed. Wouldn’t then the post of this uncompressed stream, as media on harddrives, be lossless compared to DNxHD?

Indeed, such theoreticals are not stopping me. Proof is not in the theoreticals but the seeing (as in, heck, my TVMJPG experience). Based on your wisdom, it is clear to me that I can proceed this way. I intend to export the finished show to an uncompressed file to dump to SR or D5, or a computer at a film out company.

Thanks!

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[Bill Russell]

Wow, so DNxHD is *better* than uncompressed standard HDCAM? I like to hear that. Is that true? I’m giddy. As far as the 220 rate, if I understand it, the equiv 10 bit rate is 175 when the frame rate is only 24p instead of 30i (?) — anyway, 175 is the top rate I see available in Avid for a 23.97p HD project. (Thanks for your reply)

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[Bill Russell]

That’s fascinating, thanks for the education. I guess it’s rather like digibeta, compressed and off-limits. Likewise, HDCAM is like beta before beta SP — obsolete out of the gate, except in this case everybody still depends on it…. only because there are practically no HDCAM SR cameras yet. Cheers…

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[Bill Russell]

Well thank you, that’s what I feared, that native was off limits. Funny, have you seen the HD Decision Matrix? It’s all over the web. There’s a typo on the storage entry, thus raising this whole question….

https://www.24p.com/HD_Profiles.htm

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