Bouke Vahl
Forum Replies Created
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Perhaps 99 variations of the same title per bin, but i’ve had about 3000 stills with different reelnames in one bin…
(after that the bin became unusuable, workaround was to split the sequence in two.)Keep in mind that a sequence in a bin also has all used stuff in the same bin, although invisible. There is a max of clips with different reels you can put in a sequence.
As for the OMFI directory, i believe the max is more like 10.000 files.
But for 8 TB, you definitly want partitions. Things can go corrupt, and you don’t want to loose 8 TB.
Speed is no issue compared to the problems you WILL get eventually. Also, it’s way more convenient to have partitions per job.Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
I’m not sure how the presets of the encoding are, but i’m darn sure it’s VBR.
Thus, during the complex parts, the datarate goes up too much.Try to find a template that uses CBR, and / or use AC-3 sound to lower the datarate.
High datarates don’t work on burned discs. Keep the total below 7500.hth
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They can output QT in any form, but be aware that color levels will be tricky.
Also, if they mix different codecs in the timeline, there is a posibillity that there are different field dominances in the file. Avid does not care and corrects it on the fly, but for you it will be horror to deal with.
Next, if you are in NTSC, and if they work in something else as DV (they should), it is better NOT to go trough the DV codec if you got to MpegII, as the 4:1:1 -> 4:2:0 conversion will make the end result horrible.Whatever you do, test, test, test.
hth
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Audio timecode AKA LTC AKA Aux TC are all the same.
It’s a noisy audio signal, containing 0 and 1’s.
Normally it travels on a seperate channel on tape, so you never hear it. Depending on your deck, there is a TC OUT as BNC or XLR connector. Listen to that, and you’ll hear it.
half way down this page
https://www.philrees.co.uk/articles/timecode.htm
is an example.It is called ‘ltc’ if it travels on the real TC track, but you can put this, or another LTC signal, on one of the audio tracks. Then it’s called ‘aux tc’ (handy in case of multicam with cameras that are not able to lock, or you want continious TC on the normal track for fast ingesting, but also be able to sync to another time)
For your purpose:
There is no real need to use the ‘read audio timecode’, when you ingest a piece with 422 control, the timecode you see in Avid ‘should’ match the LTC you digitize.First do a test with tape playback. Next, it is possible that the TC out of your deck starts working with the recorder set to ‘free run’ and the rec button pressed without a tape running.
Try to match the LTC with your timeline/subclips, it will be handy for future reference!
To toy, download the free demo of ‘transcriber’ from my site, it also reads the LTC, give you an idea what’s happening.
Last tip, do not put it too loud, there is absolutely no need for that. Keep it 9 dB under your normal peak level
(about -18 dB in digital files)hth
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
duplicate your sequence, remove all audio and try again…
(cc does not care about audio…)hth
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Dude,
this totally rocks!
(i’ve made an application that can detect cuts in finished masters, and i always had to go a clumsy route to get the EDL it outputs to link to the video, as for some strange reason avid refuses to link about 5% of the shots)Bouke
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
i agree.
Besides, it’s hell to test if not both machines are on the same location.
And if they are, why even go trough digibeta? Just play out FCP and record that in AVID…Next, export an EDL or so out of FCP, and get a macro to cut up the avid timeline for easy CC’ing (otherwise you have to manually match frame a lot of clips…)
There is one on my site, the free demo version is enough for this job.
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
You did set the deck to DVC pro and you want to master to DVC PRO, don’t you?
I don’t think the 455 is able to record onto dvCam tapes, nor can it record in dvCam. (AFAIK)What happens if you just crash record? Does it display E-E ?
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
You cannot have field dominance ‘none’ if your material is interlaced.
It’s either upper or lower, and not all manufacturers get it right, so you ALWAYS have to test.
Export a small portion with high motion in QT pro and test with that. If there are still problems in some parts after you’ve found the ‘right’ settings, the guy before you messed things up so you have to import twice with different settings, and cut it up to get right.
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
you could try Subbits (download a demo from my site).
the ‘external copy’ function is way handy to import a transcript from (preferrably) Wordpad or notepad.
Next you can do the timing.
However, it ain’t good with Chinese, so do English first, save for Encore, and use that as a template for the other languages, just using a text editor.
(but really have NO idea how that will look, as i believe chinese don’t read from left to right…)Bouke
http://www.videoToolShed.com
smart tools for video pro’s