Bob Flood
Forum Replies Created
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Walter
“I’m going to have up to 9 edit suites in our new building”
thats great that in these messed up money times, you can expand! congrats!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Hey Dane
I have an LHe as well as a uvw 1800 so
from one dinosaur rider to another heres my 2 cents:Both the the kona and the beta only want to see Black ie Composite video and 7.5 ire Black, so make sure thats what the BM is making, as opposed to Sync AKA Horizontal Sync, or Subcarrier. Loop the ref signal, Black, from the sync generator through the composite video in of the beta, then terminate at ref in on the beta. “Sometimes the Beta decks are picky about where they get sync.”
If the BM has multiple outs, send a separate ref signal to your Kona
double check that the menu settings on the beta are set correctly (i think you have a menu choice as to whether the beta gets External Reference from Video In or Ref In)
You might see some rolling when the deck first starts which is normal.
THe way to tell if both the card and the deck are “in sync” is to watch the video output of the deck on a broadcast monitor while printing to tape. If the picture starts to slowly roll up, something is amiss. If the picture stays put and does not roll or shift up or down, then you are good to go.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
David
If you shot it 16×9 Squeezed AKA anamorphic, it got recorded on the tape squeezed into the 4×3 aspect ratio. Played back on a 4×3 video monitor it would look squeezed (affectionatly referred to as skinny-vision)
If you place the material on a 16×9 Sequence it will play with black bars on the side. You can “distort” the footage by 33 (doesnt have to be 33.33) and it will look correct. You can also set the Anamorphic flag on the clips, so when you drop them into your anamorphic sequence they will automatically resize to 16×9 and look correct
Are you reducing quality? I would say no, you are merely reshaping the pixels. becuase that camera only records 720 x 480, the image will always be 720 pixels across, whether they are 4×3 Aspect Ratio or 16×9 aspect ratio.
Hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Peter
We seem to keep running into each other :).
Please take what i say as nothing more than co-miseration and understanding of where you are, as myself, DRW, Les Kaye, and i think Wayne Cole, have been where you are.
When i transitioned from edit to FCP, i pulled my hair out for a long time. Some say a couple of years, but i say about 6 months. (hahaha)
Needless to say, fcp is unique animal, partly cuz its mac and not PC.
I see “Op Not Allowed” in a couple of places: when you try and ovwerwrite a clip if the existing clip has a transition other than a cut(this is my biggest peeve!). You have to delete the transition, do the overwrite, then re-do the transition. There are other ways to replace a shot, like the replace function or option-v (paste attributes).
another place i get “Op Not Allowed” when i try and export or save to a volume thats got some kind of write protection going on, like permissions or something, or may not have enough room, or might be FAT32 insted of HFS+.
BTW, another “gotcha” i found was that undo applies to the whole project, not just the timeline, so if you want to undo something you did before you, say, opened a new bin, you will lose the bin.
Somewhere around here (this forum) is a bunch of threads with DRW and Les and the rest, and a lot of the edit-to-fcp pain is alleviated by reading them
Oh, and whenver you rant about how something may be broken and hasn’t been fixed, you’ll get this: “But Look What You Can Do For Under a Thousand Dollars!”
This is a great forum, a lot of stuff you are experiencing has been covered, and I hope this helps!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Peter
Ahhh another ex discreet edit editor joins the “herd”!
you are in good company, sir!
as shane said, there are presets for all the tapeless formats. the tricky bits are if its 59.97, 60, 30, 29.97 etc. if the framerates in your view setings dont match the media, you will not see real time playback.
When you log and transfer file based media into fcp7/fcs3, the media gets a new “wrapper” that is quicktime freindly. Its still some variation of mpeg/gop video, just one that FCP likes.
You should choose Prores 422 in your render settings. For best results make the Compressor in your sequence settings Pro Res 422 (it does not need to be HQ). this will make any native exports pro res as well.
does this help?
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Evan
whether to Urez my HD footage or downconvert my HD footage is a question i struggle with on each project i do. Using tapeless has led me down the path of working in HD and uprezzing my SD media, (some of which is 4×3) by using Instant HD or some other software equivalent
I know i could transcode all my HD tapeless to SD, but that takes time. and unless the TV game has changed since i was hackin promos at a local UHF, time is one thing TV stations never have!
i think the best workflow for you would be to ingest the files from your JVC native and work in HD (yer systmes sound fast enough)
As for your legact footage, I would suggest equipping at least one of your FCP systems with a Kona 3, which does upconverting in real time.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
eli
cinema tools makes a new file at the same settings as the old, so if you have a 30fps file at ProRes HQ, cinema tools will give you a 24fps file at prores.
the name “compressor” is a total marketing thing. YOu really are only compressing when transcoding or reducing in size ie HD pro res to web QT
Compressor can be used for any file transcoding. use the Apple Advanced Codecs to get lossless results.
I use it for Scaling up media, as well as framerate conversions, and just match the seetings of my media.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
Joe
It should. at least thats the promise.
Try a test.
The gotchas are in the media. FCS 7 supports a couple of formats that 6 doesn’t (like ProRes 4444), so you may have to transcode some stuff before you make the XML.
If you could tell us more about the project we can offer more help in finding a solution.
hope this helps
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
the blog said:
“The main interface will be using the concept of rooms, where each room represents a step in the post-production workflow associated to each application”
Better yet, why not make each step a “place”! for motion you go “across town” to “Vinny at the Optical Shop” for sound over to “Howie at the Mix Place” for review you go to “Standards and Practices” and “anyone who is walking the halls at the agency” or “the clients nephew who just graduated film school” for distribution you go to “berts dubs” and “the TV station that never looks at the color bars”. 🙂
I’m sorry, but give me an effin break….rooms…please. 🙂
Just make the app have better keyframeing, mixing, effect grouping, submastering, and output, and there is no need for “rooms”.
ie:
(Warning: the following analogy is laced with old school terminology!):
A big air conditioned edit suite w 4 D1 machines, a 3 ME switcher, dual Chyron, ADO, Kaliedoscope, Harry, Spirit Telecine, Davinci, SSL mixer, digital 48 track, Axial controller and 3 of each 2″ 1″ 3/4″ and VHS duplicatorrs.
Except its all non-linear, HD, and it all works as it supposed to. Thats what i would want to see in a 2,000 $US NLE
I love wednesdays!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc. -
greg et al
to echo Baz and to find something that has “stick around ness”, i have hear that a Big reason for DLT or LTO is that financial institutions are using it, and they have to adhere to government specs.
and we all know how long it takes the government to change something!
“I like video because its so fast!”
Bob Flood
Greer & Associates, Inc.