[Bouke Vahl]

Are they in generators?
In that case, Subbits can import an XML and ripping the content.

You then can output to a text file where you get text and timecode, close to a transcript.

Current version is here:
https://www.videotoolshed.com/?page=products&pID=12

In this version, it’s best to make a new sequence (duplicate the current one) and strip everything but the generators.
(Otherwise it’s dog slow)

If this fails, mail me your XML and i’ll see what i can do.
(working on an update with improved XML support.)

If they are in locators, that’s also something that will be in the next version, and i’ve got the code to rip that as well.

hth,

Bouke

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

[Bouke Vahl]

Nah,
DV is good in 25 fps world, where DV is 4:2:0 like Mpeg2 on DVD.
In NTSC, DV is 4:1:1, while the source is 4:2:0
So you end up with very, very poor color resolution.
Transcoding the DVD to a 4:2:2 codec would keep the quality as it is on DVD.
So, my advice is to use Prores or IMX (30 would be enough)

Bouke

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

[Bouke Vahl]

well, the source files probably have been 24 P.
And somewhere they were reverse telecined, and somewhere the bad pulldown was added.
(besides, i don’t agree with this kind of pulldown to be suitable for air)

Now, if the cadance is consistent, it is easy.
Park on a frame just after the first duplicated, and go back as many multiple of 5 frames you can. (If you’re lucky, you end up on the first frame)

Do a QT export to 23.976 and QT will dismiss the added frames.
You then have a perfect file of the same duration, so you can paste in your original sound.
No pulldown, very suitable for digital, and you have the option to add normal pulldown for broadcast.

Now if there are cadence breaks, you need to do this per shot, so you have to razor the entire clip and do a batch export of all the clips.
Doable with a bit of scripting, but more work and hard on effects / transitions.

Bouke

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

[Bouke Vahl]

Why does the macro not work?

And, QTchange ‘should’ work on FWdrives just fine, something else is wrong. (Perhaps a long pathname, or the files are locked)

However, be afraid of using QTchange on an already edited show.
You might render stuff offline…

Bouke

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

[Bouke Vahl]

ooops…
I’ve almost forgot…
If you use LiveCut, you can have an EDL ready to relink after the capture.
(thus, each cut / dissolve is on your timeline, but from iso taped material so you can alter things.

This works with a good old fashioned EDL, so you won’t end up with a multicam session.
(but that IS possible in FCP though!)

Current version is 8 inputs only, but that can be changed.
Have a look here:

https://www.videotoolshed.com/product/29/livecut/3

Bouke

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

[Bouke Vahl]

Mitch Jacobson has written a book on the subject.

There are options to capture and even edit while capturing.
But capturing 9+ streams in two different resolutions aint cheap.

(well, unless you build your own Ingex system, better hope you’re not in NTSC country…)

Bouke

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

[Bouke Vahl]

9+ ?
That seems like a lot…

never used more than a few streams, but my take on it nevertheless:

At 36 Mb the datarate isn’t killing you.
(at 8 streams you will be at a lousy 36 MByte a sec, for 9+ and sound you still will be under 50 MB / sec.
That is doable of course.)

The hard part will be uncompressing all that pixels for display.

I would test. And, if it fails, why not have an SD codec for the multicam switching (you’ll be looking at thumbnails anyway) and the same media in HD for the full screen client monitor review.

Requires relinking quite often, but that should be painless.

Besides, depending on content, blown up DV might look better than heavilly compressed HD…

Bouke

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

[Bouke Vahl]

Not really.
he’s working in 25 fps.
So Prores NTSC is a bit silly, Prores @ 25 fps is more logical.
(And note that NTSC is not the correct term, since it’s not a composit signal, but anyways…)

In 25 fps it is common to have full height anamorphic 16:9.
So a conversion to HD should be full frame. Black bars are never a good idea if the source is 16:9

Bouke

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

[Bouke Vahl]

Not only that, if you kee the filename on the transcoded file, with an optional extension, and copy the THM files next to the transcoded files, it will work on the transcoded files as well.

Bouke

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

[Bouke Vahl]

let me guess, this was Alexa material?

If so, contact me direct at bouke at videotoolshed dot com
perhaps i can help…

Bouke

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