[Bouke Vahl]

I don’t get it.
What’s up on such a low budget? If you have to ingest 200 hours, i would suggest that even if there are no TC breaks you’re facing at least 5 weeks of ingesting (assuming you have only one digitize station), but more realistic is 6 weeks…

(i cannot remember having a job taking more than 5 weeks including ingesting, seems quite good business…)

So you definitly want a protected raid system, as you do not want to loose this amount of work, no matter the cost.

Bouke

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

[Bouke Vahl]

dunno if it’s better, but you got SDI and either composit or component at the same time…

Bouke

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

[Bouke Vahl]

if you have your media in d:\omfi mediafiles\
place your ref in d:\

On the target disk, do exactly the same.
If you place the ref in a subdirectory and it cannot find the media anymore….

clear?

Bouke

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

[Bouke Vahl]

Keep the (relative) pathnames the same. Should work then…
Just copy the media file dirs to the new drive and keep the ref files in the root (on both machines)

Bouke

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

[Bouke Vahl]

Would be possible, but that also means loosing the original tape name, as i don’t have access to that. (yet…). No problem i would guess, as loosing the original TC means no redigging anyways.

But why? What is the advantage of loosing the normal TC? It’s just a single click to switch to AUX tc…

Bouke

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

[Bouke Vahl]

My advice, shoot REC RUN TC so you can ingest fast. But, to be able to sync up, use AUX TC (have one tc signal, no matter if it comes from your personal I pod) to go to each cam.
Next, use my app. to split clips and sync them. Inest fast, sync fast, never think about it again. It WILL involve multiple receivers on all cams, but it WILL save lots of time and money.
(guaranteeed money back if not 100% satisfied)

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

hth

Bouke

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

[Bouke Vahl]

no, you cannot. FCP does NOT support that. Workaround:
https://www.videotoolshed.com/?page=products&pID=26

Now explain how you put a deck in “external Tc mode”.
Being around for about 22 years, i’ve never been able to do this…

Bouke

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

[Bouke Vahl]

Besides the image quality, you also have to concider how you’re gonna make them. Having them timed right and decent translated / shortened is even more important (just an exact translation will result in unreadable subtitles as no one can keep up with the speed)
As a rule of thumb, if you can speak the subtitles out loud on a normal pace you’re fine. Most of the time this means shortening the text (depending on languages of course) by 30%

Now you mentioned Belle-Nuit. If you already own that, your choice is made or you’ll be facing a hell of a job re-creating all them.

Next, check out if Spherico XML converter supports belle nuit. If so, you can try my free FCP text generator to see if that looks nice to you. (It has decent outline and shadow, and keeps its reg points stable, unlike the standard FCP text generators)

It’s a part of Subbits, download from my site.

hth

Bouke

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

[Bouke Vahl]

Now everyone has valid points but no one is getting pragmatic here.

Yes, you need accurate TC, but yes, you do want to ingest as fast as possible.

So, shoot REC RUN and tape AUX TC on one of the audio channels.

For multicam, shoot rec run and broadcast a TC signal to all the cams as AUX and use that (as no matter what you tell the shooters, they WILL turn off their cameras every now and then…)

So you won’t loose the first few secs on preroll, your capturing is way quicker and you still have access to the time events have happened.

Bouke

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

[Bouke Vahl]

[Martin Baker] “From what you’ve described, the Aux TC is the tape TC, or am I misunderstanding?”

No, you’ve understood perfectly (the first part of it:-)

What my application does is reading the TC out of one of the sound channels and insert an AUX TC track in the QT. So in this case, AUX TC is indeed the same as tape TC. BUT, it is a different track. (The QT TC tracks also contains the reel names and identify themselves as being ‘normal’ or ‘aux’)

Now as you probably know FCP cannot have TC breaks in one clip, so my app hunts down the TC breaks and splits the original QT into smaller clips (either self contained or by ref)

The ‘normal’ TC track stays intact. So you end up with both normal and AUX TC.

It was designed for shoots where the tape TC is rec run and a free run TC signal is recorded as normal audio (like happens a lot on multicam shoots where there is one TC signal broadcasted to all the cams, or where a decent BWF recorder sends its TC to a prosumer cam).

In this case the cam has recorded free run TC, thus when capturing an entire tape the ‘normal’ TC track is unusable.
The whole idea is to capture fast but be able to track down the source TC. This is possible using my app, but as it just copies the ‘normal’ TC track it won’t work on recapturing.
(But i don’t see that as a problem, when you work fast you probably never redig…)

Makes more sense now?

Bouke

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