[Bouke Vahl]

to drift off a little,
in my experience dual sound is the least of the trouble when shooting with a DSLR (if you got a decent rig, and that can even be cheap)
Biggest problem with a DSLR is that it aint a ‘production’ cam.
It’s great if you have time to set up a shot, but for getting a lot of (usable) shots in a short time, it just does not work.
But again, that’s not the dual system sound that is holding things up…
(and yes, i agree, for 200 bucks a day you can’t get a plumber, and a 5 to 10 K investment in equipment seems a reasonable figure to me…)
Strangely, if you are in a studio environment, you can get things done way cheaper (at the cost of the studio…)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

It ‘should’ work, but you need to test.
In my experience i’ve seen offsets between BWF and TC out if the ‘preroll’ function (record a bit before hitting the record button) was used.

If the offset is always the same, it’s easy to compensate.
Also, be aware you need an Avid to decode the LTC, or shop with me (fcpAUXtc reader. Don’t let the name fool you, it works with any NLE that supports QT.)

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

It may have to do with not bothering you with too much detail.
A small glowing reflection can clip without a noticable effect in the final image.
If something is ‘default’ in FCP, it does not make it ‘good’, nor ‘industry standard’.
In the end, it does not matter what you do nor how you do it, as long as you end up with something you are satisfied with. And it helps to know what it will look like in broadcast.
(for that reason my client monitor was driven composit untill a few years ago)

So, you can happily set the tools to 100% and ignore small peaks, at least you know where to look for potential problems.

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

I can imagine the start / end of the H264 messing things up.
But why make it so hard on yourself and create one long clip? Why not import all the clips as they are, and then transcode?
You mentioned timecode, but what good is that timecode if you have one 3 hour long clip?
If you need Rec run style timecode, you could use QTchange to put it onto the originals, but most people would use the freerun style (as it gives more meaningfull info besides being able to identify each frame, you then also know the time a shot was taken, makes things easier normally.)

And, you can import a few random clips to check instead of having to wait half a day before you know you got something unusable…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

And there is subbits.
It can import timed text, and output to Subcap compatible files.
Or, it can output to a QT movie with Alpha, where you can create better looking titles, and have a more stable system.
(a lot of subcap titles seem not to work too well on my version of Avid, and i don’t like the look…)

You can get it here (and there is a demo version)
https://www.videotoolshed.com/?page=products&pID=12

Don’t hesitate to contact me if you run into trouble.

For the output format for DS / Subcap, it should look like this in an UTF-8 txt file:
(delim between TC is a TAB, not sure if a space will work also)

————-
@ This file written with Subbits, https://www.videotoolshed.com

00:00:00;14 00:00:03;01
First title, two lines.
This is the second line

00:00:03;05 00:00:04;05
second title, just one line.

————

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Yes, i can assist, but that would be paid consultancy.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

My guess is this does not happen on every frame, right?
If so, you probably got a mismatch in framerate between your QT and FCP settings. FCP is adding fields to compensate for that (thus, keeping the duration intact).
What you see is interlaced video. Nothing wrong with interlacing, (and it is broadcast standard), but if it happens due to a frame rate mismatch it will be ugly.
So re-render your QT at 29.97, or use Cinematools to conform it to 29.97.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Don’t forget the trim mode, also very powerful, especially as it has customizable pre-postroll times.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

‘broadcast quality’ is a dead term.
A lot of bad footage is aired as cost is more important than quality nowadays.

So if you want a new cam, get something
– you can afford (or rent if your shooting days are limited)
– you are comfortable with (it makes no sense having a heavy HQ cam that you can’t carry onto your location, and if you don’t know how to operate it, well…)
– is good for your purpose (you can make beatifull work with a DSLR photo cam, but your productivity / output minutes per day will be limited. Sometimes this sucks, sometimes it does not matter)
– shoots multple formats if you need it. (If you want to target both the european and american audience, it makes sense to shoot 24 or 23.976)

IMHO the Sony EX series is a set of toys. Compared to a ‘real’ cam they are soft, and very hard to handle. (bad lenses, bad viewfinder, bad ergonomics).
But that does not say that it can’t be done. A lot of broadcast content is made with these…

As always in filmmaking, having the tools does not mean you get work.
So the most important thing is to get the work. If you think you can make something and then sell it, think again. First sell it, then make it. By then you have a budget, based on that you can make decisions.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Do you mean you have 10 sync tracks for each video take?
Or a lot of takes that you combine so you have a lot of people talking at the same time?

Bouke

https://www.videotoolshed.com/
smart tools for video pros