[Bob Flood]

hi again

I am stayimng with this thread as we are at this “juncture” where we have to mix formats and such.
we shoot our own stuff ,and waht we have been doing is shooting HDV 1080i, but frameing 4×3 and protecting 16×9 ie relevant subject matter falls into a 4×3 section of the HDV 16×9 frame, but we keep clear the whole 16×9 frame. so the footage can still be used as 16×9 down the road. we are currently posting everything either 4×3 or 16×9 anamorphic on 4×3. (basically cuz its a lot slower to post HDV or even DVCproHD)

“in thinking about this some more, I believe what you’re really trying to do is convert 60i material, with its 60i time code, to 24 frame material, with 23.98 time code that “matches” the original 60i code (at least at even seconds, with the “0” and “5” conventions applied for 3:2 cadence) in one pass. This is not going to happen through a Teranex or any other converter because they don’t convert time code”

Evertz time code generators convert on the fly. they are used to generate 29.97 tc dubs off of 23.98 material and so on

i am not sure if they work via rs 422, but you can dub a 24 TC tape to 29 by running tc through the Evertz. You have to use a specific model, however as not all the units do it.

hope this helps

bee eph

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi

its quicktime

everytime i open an export, even an fcp one, in quicktime, i cant write over it. even when i close qt.

i do 2 things, either restart my system, which is a pain. or delete the file before restarting

i think it might be a permission issue with quicktime

if you are getting it with internal renders, try rebulding permissions on all your discs

hope this helps

bee eph

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

sean

hey man, are you the same sean who was beta testing edit 6.0 when i was? there was sherwood, susch, and various other playas, and a guy named dan at discreet?

anyway, as far as your post. in scenario 2, whereby the post house dubs everything to a clip reel to be upconverted, you can do it without having to eye match the shots in.

the easiset way is to take all your shots you need to upconvert, sort them by source tc, media manage them to a new bin so as to add handle, put them in a new sequence and print out or make an edl. Or you could make a batch list of just the SD clips.

Then, either auto assemble your clip reel (provided the post house has 2 digibetas and an edit controller) OR dub all the shots manually BUT make sure you carry over the timecode from the original source tapes ie:
if you can auto assemble the clip reel, dub the tc to track 4 of the clip reel, if your going to manually dub each shot onto a clip reel, just jam the tc over. When you run the clip reel through the upconverter, make sure to carry over the tc to your d5 or hdcam, either from track 4 or the tc track. Now change your reel names on all your previous sd clips in FCP to the one reel, and recapture.

there is another way to do this as well. it involves making an “archive” video tape from fcp. you need a program called XMLtoTXT by spherico, In essence you make a sequence of the SD clips and lay off to tape but by crunching the XML data FCP thinks the layoff tape is your source tapes. Larry Jordan has been able to do this so as to archive footage for a project and still be able to return all the source tapes to client. go to his website for the exact how to.

when i first started editing we would get client 3/4 inch tapes that our CMX did not like (oh but the place she was conming froms paltex handled fine) so we used to have to do select bump ups in source tc order so we could auto
assemble.

Its also the same drill as when you have to do 2 passes on a film job, a dailies pass of all takes, then a select pass in source tc order of the keepers.

hope this helps

bee eph

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

hey again!

the kids at the cow moved this thread, so i had to dig around, and then checked my email

I forgot a couple of more esoteric things…the CMX 6000, NLE which used laserdiscs and could only do cuts (but it would superimpose graphics that mimiced film style markups, like dissolves and fades)

Also a system developed by Laser Edit in LA (now laser pacific) based around a 16 port edit controller kinda like an ampex ace. it was called the Spectra System and it drove custom made dual head laserdics players for offline editing, than the edl was loaded into an identical controller that ran one inch machines for online. the thing was huge, had backlit buttons, its own automated audio mixer, and did lookahaed assembly. (the closest to that at the time was the axial) wow what a beast! it also had the ability to learn and memorize switcher moves, so when you reached over and brought in a key, or switched between a 3 camera shoot, it all went into the list. unfortunately they were not for sale, but if you were paramount pictures, they would set up one on your set to cut your tv show. the sad thing was it never caught on with commercials or other single camera stuff.

wow

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

just asking if what i found made sense ie the difference between real time and rendered and how frame blending affected it

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

ok

not many of you guys know me, and i tend to chime in on a few things here and there, so i am gonna hop on this memory lane bandwagon with a brief history of time, as it were, to kinda get my props out there

linear stuff i have worked on and with: CMX 3400, GVG 151, GVG 1600, 1680, 200, 300, 110 4000 CDL ???, RCA tr 600, (2″) NEC TT 7000, Sony bvh 2000, 2500, bvu 500, bvh 10,20, 40, 65,70,75, DVW ??? Ampex D2, Sony D2 Chyron 4, (whats a Chyron for, anyway?) abekes a 72, A 62, A52, Ampex VPR 2B, VPR 6 w Zeus TBC Ampex ADO, Ace Keyboard and Touchscreen, GVG Kaleidoscope, Quantel Encore, (whew)

Non linear: Montage, avid, d-vision, avid, media 100, avid, discret edit (did i metion avid?)

started as a “tech” shading an RCA TKP 45 (similar to the philips pcp 90, you know, a dinosaur color tv camera in a psuedo portable housing) shooting on a BVH 50 portable 1 inch (portable was a bit of a misnomer, as it weighed 40 pounds) in 1979

I think the headahces we used to have with color framing on 1 inch (mysterious horizontal shifts etc) have transformed into render issues, as they are equally pervasive and unavoidable

I think this job is like peanuts. I know its bad for me, but i cant stop….

bee eph

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

ok

not many of you guys know me, and i tend to chime in on a few things here and there, so i am gonna hop on this memory lane bandwagon with a brief history of time, as it were, to kinda get my props out there

linear stuff i have worked on and with: CMX 3400, GVG 151, GVG 1600, 1680, 200, 300, 110 4000 CDL ???, RCA tr 600, (2″) NEC TT 7000, Sony bvh 2000, 2500, bvu 500, bvh 10,20, 40, 65,70,75, DVW ??? Ampex D2, Sony D2 Chyron 4, (whats a Chyron for, anyway?) abekes a 72, A 62, A52, Ampex VPR 2B, VPR 6 w Zeus TBC Ampex ADO, Ace Keyboard and Touchscreen, GVG Kaleidoscope, Quantel Encore, (whew)

Non linear: Montage, avid, d-vision, avid, media 100, avid, discret edit (did i metion avid?)

started as a “tech” shading an RCA TKP 45 (similar to the philips pcp 90, you know, a dinosaur color tv camera in a psuedo portable housing) shooting on a BVH 50 portable 1 inch (portable was a bit of a misnomer, as it weighed 40 pounds) in 1979

I think the headahces we used to have with color framing on 1 inch (mysterious horizontal shifts etc) have transformed into render issues, as they are equally pervasive and unavoidable

I think this job is like peanuts. I know its bad for me, but i cant stop….

bee eph

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

Hi

In Addition to all the stuff walter mentioned, i would invest in some power regulation gear

an Uniteruptible Power Supply for your computer, monitors, and storage array. This will regulate the line voltage fluctuations, as well as give you time to save your work and shut down in case of a major power failure. For the rest of your gear ie tape machines mixers video monitor etc get a good regulator ,like a tripp lite, and run anything you dont want blown up off of it. The so called surge suppressor power strips you get at wal mart and the like are not reliable

we have a tripp lite 30 amp (110 volt 60 hz 4 outlet) and it has save our gear during more than one electrical storm!
hope this helps

bee eph

“I like video because its so fast!”

Bob Flood
Greer & Associates, Inc.

[Bob Flood]

dale

go with the quad

get now what you need now, or else you can spend your whole life waititng for the next big thing.

bee eph

[Bob Flood]

Hey Red

No one has mentioned the Safe / Unlimited selector

look under your safe rt / unlimited rt and check those settings

There is a setting there which affects quality between playing and laying off to tape.

I believe that if your set to unlimited, and you do have all your render choices checked, FCP still does not do a full render until you ETT.

Just before you are ready to ETT change it to safe, high quality, etc, and do one more Render All

also. I throw away all my previous renders through the render manager and start from scratch.
I know it takes longer but it guarantees you are playing the correct render of something

Hope this makes sense and Hope this helps