[Bob Flood]

Amber

glad to help.

usually a heads clog gives me a “no video” warning,

although sometimes i get a ” there seems to be a problem with the tape deck…” message

at leat i dont get:

“Im sorry, but this technology is too sophistcated for you, find a quarter and call your mom and tell her your not in the video bizness anymeore” :)))

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Amber

FCP has this problem. the system really does think the tape is not threaded, even though it is, and its playing, and you can see it through the camera etc etc.

try this

save any thing thats open
quit fcp
shut down your computer
shut down the camera
re connect the cable(s) between cam and computer
start the camera
start your computer
open fcp

a lot of times that works for me

hope this helps
if you do stuff in this order

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi stathis

EDL’s really dont know from filenames. They only can indicate Source tape numbers, ins and outs, master ins and outs, and rudimentary transitions. They were developed to be used on a linear tape editing system. Since you are dealing with file based media, it just aint gonna happen for you.

You need a product called “automatic duck”. it will allow you to move the project you have from premiere to FCP and keep a lot of information intact.

If you cant afford it, maybe someone here would do it for you at a small charge.

google “automatic duck” and you will see what i mean

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi John

good so far, however i am not sure you need 8 gB ram, as i Think leopard can only use 4.

Wahts the predominant Format you will be working in? DV? uncompressed SD?
2K? 19mm film? (just kidding on the last)

If its a tape source, waht VTRs will you need?

you may need an audio mixer to adjust levels in and out of fcp. or at least to control your monitor levels and plug in a mic.

and you may need a real video monitor, like a panasonic LCD, or comparable.

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Damen
4 things:

1. in the previous post you asked about the pulldown, I dont know how to tell, but there must be someone here who knows, or search 4 a post

2. Keycode is not necessary for this type of workflow.

3.the process you described to derive a “c” mode EDL is correct.

4. If you are transferring at Company 3 in NYC, tell Eli i said Hi

hope this helps

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

galen

based on the info you have provided i cna tell you this:

we do this a lot, and the secret is we keep everything at 29.97.

We use a 29.97 EDL to make a list of the scenes we want. the colorist re-transfers in ascending timecode order just the scenes we specify, with some handle, usually the whole shot flash to flash. we redigitize the new transfer into the FCP project and everything matches up!

The only difference between 23.97 and 29.97 is the frames. 10 seconds is still 10 seconds in either realm.

If you are re-transferring to a 24 fps medium, like HDCAM or direct to hard drives, you can use Cinema tools to make a clean 24 edl from a 29.97 edl, but you need to know the pull down sequence ie which frames are held for 3 fields.

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

cem

try making one and see!

you can view the EDL using Apple TextEdit.

What’s the EDL for?

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Aric

Here is one example of what I mean

https://cgi.ebay.com/FOR-A-FA-300-TBC-DIGITAL-TIME-BASE-CORRECTOR_W0QQitemZ330304267501QQcmdZViewItemQQptZLH_DefaultDomain_0?hash=item330304267501&_trksid=p3286.c0.m14&_trkparms=72%3A1234|66%3A2|65%3A12|39%3A1|240%3A1318|301%3A1|293%3A1|294%3A50

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Chris

You can send a video signal to a kona, and i’m sure a Balckamgic without having to send it Blackburst

BUT

You have to have a stable video signal first, and video out from a 9800 3/4 machine without Time Base Correction is not stable enough,

you could use a framestore/synchronizer to stabilize the signal, but a true TBC has dropout compensation, color velocity compensation, and other stuff that make it better than just a framestore. Especially the Fortel or For-A with Faruodja 688 decoders, which are really clean!

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Aric

The 9800 has capstan servo, which means you can use a TBC with advanced sync for stabilizing the video signal. (the TBC feeds back sync to the deck to keep it playing accurately)

I recommended you use a TBC that takes the Dub Out. of the deck. THe models you want to look for are made by For-A and Fortel, (the Fortel Turbo) It seems there are always some on Ebay

If you have budget issues, Microtime or DPS are good brands as well, but they work off the composite video signal.

WE have a Kona LH and an IO LA and they work like tanks! both have the ability to accept a Composite, Component, or Y/C input signal.

hope this helps

The big concern with 3/4 video is the noise, so if you do decide to digitize, use very low compression, or none at all ie DV50 or 8 bit uncompressed.

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.