[Bob Cole]

[walter biscardi] “Edit the project and master out to BetaSP.”

I wish that were the case, but the client wants to use his own editing facility.

[Bob Cole]

[Rich Rubasch] “If you have a Kona card and the breakout box you could run the SDI out of the M-Connect into the breakout box. Put FCP in Digitize mode and run the component and XLR out to the Beta deck. Sort of an EE setup using the Kona as your convertor.”

Sounds good, and I could go component video out from the M25. But I wonder whether this would really work, because when I digitize any material shot with my Sony Z1 HDV camera, played from my Sony M25 deck, using either Firewire only or Firewire plus component out, my FCP capture session is frequently interrupted with messages about searching for broken timecode. (I’m no techie, but imho the timecode should not be broken — these are continuous takes, the tape is not rewound in the camera, the camera is fairly new, and I use Sony’s premium digital master tape. Oddly, the timecode break is quite consistent, and often when the material is critical I have to revert to “no deck control” in FCP to get the shot captured.)

Does using the HDMI port avoid these issues? Is Firewire the culprit in these phantom-broken-timecode issues?

[Bob Cole]

[Dan Sparks] “SDI through the Convergent MI box.”

We’re talking about the HD-Connect MI, right? How did you play the original tape, from an HDV deck’s HDMI output?

[Bob Cole]

[JeremyG] ”
I’m no Bob Zelin, but why do you need to do this?”

First of all, congratulations on the first part. (couldn’t resist, Bob and I still want to be on your good side)

I am shooting in HDV to future protect for high definition (and because I have an HDV camera, no small factor financially for this project).

The client wants to edit on Beta.

[Bob Cole]

[Vincent Becquiot] “Will the drop down fit on both the baby (7′) and the junior boom?”

The drop down with which I’m familiar has a 5/8″ socket which fits the mini-Matth boom. Not sure about the items you’re talking about but I assume they all fit.

[Bob Cole]

Okay — the job is mostly done. iTunes automatically labelled almost all of my CDs. The few that Gracenotes didn’t fill in were a pita, but it is possible to use iTunes manually, to type in Artist/Album/Genre, etc.

I was surprised and pleased to discover that when either Gracenotes or the user supplies the Artist/Album data, the music file is placed in the proper Artist/Album folders. This makes it easier to organize when importing the whole folder into FCP.

I’ve already finished one project, using an external hard drive with a FCP project on it, made up of many music tracks. Very handy, esp. for on-location editing. It beats carting around a box full of CDs.

Thanks for all of the ideas.

— Bob C

[Bob Cole]

[Dennis Size] “You should also buy a “Drop Down” (#427805) to level off the fixture hanging from the boom.”

I use a drop-down in part because I understand that filament orientation can be critical to its longevity.

But in a low-ceiling setting, the extra inches of clearance are pretty valuable real estate. I’ve occasionally put a small fresnel (e.g. Pepper 200) directly on the end of my mini-Math boom.

Any general guide on which filaments you should definitely run only in the proper level orientation?

[Bob Cole]

no, but he may want to use a digital (still) camera with a built-in intervalometer, instead. Lots of articles on this on the web.

[Bob Cole]

You saved the day. Thanks a lot Baz.

— Bob C

[Bob Cole]

This raises another issue: the use of music-“creation” software. Years ago I received a copy of Acid, but have never taken the time to learn how to use it. In following the leads from this thread I’ve noticed that a couple of libraries talk about how you can customize the tracks.

In your experience, does music-creation or music-customization software work? In a sense almost any user of library music customizes it, through selection of a portion of a track, fade-in/out, & blending cuts. But this takes it to a different level.