[Bouke Vahl]

The upscaling is the best you can do.
Some widescreen sets will do the scaling based on the black (if set in (‘the horror, the horror’) auto aspect ratio, but you can’t count on that.
Nasty side effect is that the image quality will suffer as you have 1/3 less data to start with….

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

What are you using to make the subtitles?
Any decent subtitle editor can do this correct.
(and if you’re doing this in DVD SP, you’re insane)

My subtitler has keyboard shortcuts for it to make it incredibly fast, you can set the line break no matter where you are in your text, but it does not support Japanese nor Chinese (yet..)

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

The DIVA proably has TC out.
Use that to put the TC as AUX TC on one of the camera’s audio tracks.
(a normal transmitter works fine)
Next, get this:

https://www.videotoolshed.com/?page=products&pID=26

One of the things still to be done is making the BWF’s autosync to the video, we’re currently working on that.
But having the same TC in both BWF and video sure helps, specially if there are TC breaks.

hth

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Yes, your video will be stretched, an no, it aint a problem as it will fill the entire frame so all will be well. It’s the nature of video.
And 7000 probably is the same as 7.0 in DVD SP…

Just toy with it and see what happens.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

Use AE to upscale to 720 x 480 and do a one pass CBR at 7000 (why use VBR ir you have room to spare? Going too high and you will have comaptibility problems on burend discs), and try again.

[Bouke Vahl]

Ask your friend for the Avid codecs and render to one of those (1:1 OMF seems a good option.)
Importing animation in avid is dog slow, while importing the correct codec is nothing more than copying to the OMF folder.

Keep in mind that Avid uses Studio RGB (16-235, or 255, not very clear) so do a test with captured bars first to see if they line up nice, otherwhise, compensate using levels.
hth

[Bouke Vahl]

Grinner, your problem has to do with wrong monitor setup.

As for the original question, if it plays fine on the client monitor, why even bother? It’s fine.

[Bouke Vahl]

Why cheap? How many do you need?
You can always negociate with any replicator…
I’ve found that working with brokers or other ‘real’ cheap ways always results in headaches.
For our normal work we need 2000 pieces, our biggest job was 15.000
Now a cheap replicator is 10 cent a piece cheaper than the good one.
For a difference of 200 euro (or 1500 euro in our largest job) i do not want any hassle.

I’m most of the time working with DocData, they’re also in the UK
https://www.docdata.co.uk

hth

[Bouke Vahl]

yes. Timecode
First, sync all your work in a sequence, sync to the sound he has.
Next, put a layer of LTC in the sequence starting where his file starts (assuming the multitrack recorder did not stop)

Now, let the sound guy cut the tc the same as the rest of the file and have that as a separate track in FCP.
Output that to QT, have my fcpAuxTc reader a go, and you get a list of edits. (This is NOT what it is made to do, but it gives you an idea.)
Best of all, the free demo version should do just fine.

Of course you could always ask the sound guy what he can do for you, there are a lot of other ways to get you out of this mess. But if you don’t establish a good (TESTED!) workflow in advance, do bill by the hour as you will get burned otherwise!

Hth,

Bouke

http://www.videoToolShed.com
smart tools for video pro’s

[Bouke Vahl]

depending if you have RS 422, you could use my logger:
https://www.videotoolshed.com/?page=products&pID=24

Quite fast as you can type and control your deck at the same time.

Bouke

http://www.videoToolShed.com
smart tools for video pro’s