[Carsten Orlt]

if the break error always comes up in the same point on the tape on 3 different decks on 3 different machines, then it is most likely there is a break on the tape.

I had situations using DV footage where the break was only 1 frame (e.g. jumped from 20 to 22) and could only be seen by going through the tape step by step. also the jump didn’t happen exactly on the scene change but a couple of frames later.

unfortunately this doesn’t give you a solution but I’m only telling you that it is possible. DV just isn’t as 100% foolproof as Beta and upwards formats.

Also could your tc generator caused the problem by skipping a frame or so. you can easily narrow this down by checking all your tapes. if they all show a TC break at the same point in time, the generator is most likely the problem.

[Carsten Orlt]

I only remember that this was a problem that was fixed in 5.1.2 (i think)

Did you updated FCP back to 5.1.4 as well as the other software?
if yes maybe check for driver updates for your wacom?

[Carsten Orlt]

FCP has exactly the same.
difference is (and that is why it takes longer in FCP then it does in Avid) that FCP finds exactly the first usable TC after the break. Avid just stops after a break which will be with a delay after the tc break., sets a new in from where it stoped plus preroll time. So Avid normally looses quite a few seconds of usable footage because it doesn’t readjust after the tc break.
FCP does exactly this. after it stoped, it actually goes back and analyzes the tc break and finds the first possible in point considering your preroll time. And that just takes time. No way around it at the moment if you check the option.

[Carsten Orlt]

PS I’m sure that Shane has a lot more tricks on his DVD’s so I’m not saying you shouldn’t buy them!

[Carsten Orlt]

easiest way to cut down on project file size is to work over severall projects.
e.g. fottage in one, scene cuts in one, rough cut(s) in one, fine cut(s) in one, master in one.

only downside is that FCP doesn’t keep the masterclip to seq link between projects. e.g. if you cut footage from 1 project into another containing the seq you can’t execute the ‘show cip in browser’ command anymore (maybe that will change in FCP6). Also updating the name or any other info on your masterclip doesn’t update between projects.

so what I do is only create a new project and the end with a copy of my final master for fine tuning. Because FCP keeps all the clip info within the seq as well, you get a small project with all you need. If you don’t need the masterclip link from seq to browser clip, you can divide it like mentioned above.

That’s all there is to it…

[Carsten Orlt]

didn’t know that.
the box gets more interesting by the day.

[Carsten Orlt]

re graphics: they only upres ok if they have been created with HD resolution in the first place. Unfortunately I’m not sure what the exact pixel x pixel formula is for HD graphics. if you would create them at SD resolution then you loose quality going to HD.

re media manager: I did not have any problems with it lately (FCP 5.1.x)

If you have enough storage space (https://www.digital-heaven.co.uk/videospace/index.php to find out) David’s suggestion is a good one too. DVCPROHd or the new ProRes422 coming with FCP6 are very good compressed HD codecs. This way you DON’T have to do the online stage and can master straight from your final seq. Also this solves the graphics question.
But you need a lot more drive space (1 hour footage = 12.7 GB NTSC DV / 48.8 GB DVcProHD 1080i 60)

[Carsten Orlt]

if you definitely go for an online where you recapture everything then you making your life way to complicated.

Simply capture everything at DV codec as your offline format. TC identical to your source tapes of course. Either let the post house do it for you, or if you have a capture card you could hire the VTR’s and do it yourself.

After picture log off you export your DV master seq. as a self contained QT movie for reference and create a new project using the media manager (create offline, add handle of at least 5 frames) and give this to your post house for online. They can use your QT movie to check everything is correct (depending on the transfer method of your original tapes to DV there is the off chance of a 1 frame offset. Not likely if done correctly, but better safe then sorry)

or do you need to have hd quality at your offline stage? then use something like the DVCproHD codec. I would avoid the HDV codec at all costs ’cause of its GOP structure.

basically: if you have an offline – online workflow, choose the easiest codec for offline.

[Carsten Orlt]

you are correct. using the ioHD you can master to anything you like.
the difference is that the ioHD only allows for prores422 HD while inside the machine (so to speak) the reason is probably that only the compressed HD signal can travel over firewire 800. firewire 800 is to slow for uncompressed HD.
It is hard to say right now how much the prores422 codec compromises on quality compared to uncompressed HD. Unless we can test the unit, nobody knows..
But the odds that prores422 HD is all you ever need for broadcast (anything higher like film output is most likely not the target for Apple and Aja with this box) are very good.

[Carsten Orlt]

just select all clips that you want to convert in the browser
go ‘File – batch export’
choose your setting for the folder (highlight folder in export window, click on the setting button)
choose destination. (do not choose the same as they come from!)
once you have your new folder with all converted files you can again highlight your clips in the browser and choose ‘reconnect meda’ and point it to your new folder.
If you do the ‘reconnect’ with a copy of your project, you end up with 2 projects, one using the original files, the other the converted.
if you don’t do any frame rate conversions the TC will not change. If you do not recapture your footage for final online, you don’t need to worry about anything.