Chad Brewer
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I’ve had the same exact problem with some newer MacPro’s. Make sure your easy setup is set for HDV 1080i, not a generic 1080i setup. I eventually gave up and used a firewire to SDI converter for the sake of time and went to ProRes via SDI which is were I wanted to be anyhow – i.e. get your footage out of HDV land if you can.
I did revisit the issue of the MacPro not seeing the camera via firewire after the fact. I found that just like with firewire 400, one solution that sometimes works is to plug the firewire up before the camera is turned on and while FCP is closed. Turn on the camera and get the camera playing. Then start FCP and have it look for the camera. That ended up working, but it seems that it might be hit or miss still as a lot of things are with HDV and firewire. Perhaps someone else out there has some ideas.chad
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Because, some very, very small TV stations around the world have not had the money or need yet to get updated equipment. They make few, if any NEW parts for these older video decks. There are miles of 1″ video tape out there. Few of it is unused. If you need some, you find some, and record over it.
chad
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Trevor,
Read this recent thread I was involved in:
https://forums.creativecow.net/thread/8/1062344#1062480
My website is located below.chad
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We have damn near all of Michael Jackson’s career on 3/4″ U-matic.
chad
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Look at my website.
Supporting the gamut of Betamax up to HDCAM SR 4:4:4.chad
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Jeremy, I use my cats in dog mode. They greet me at the door, fetch, etc. They’re wireless too!
chad
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Isn’t it always a clerical error when you have certain people involved with such “rocket science” type tasks like dubbing?
Believe it or not, I still have stations that I ship to once a year that can only deal with 1 inch video. And, the audio has to be mono. Their specs. Go figure. I won’t get rid of my 1 inch machines until people stop paying me to fire them up.
I actually have working NTSC and PAL Betamax machines and brand new Betamax tape stock to boot. Need some Betamax dubs, I got ya covered.chad
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Rafael, I did not understand your post, “pero, dulces suenos.”
Thanks to everyone that contributed input on this workflow.
The Kona 3 can do a lot of things. I have two of them. With this scenario, full blown Teranex hardware is the only option unless you want the film lab to reject your video tape because of frame artifacts like ghosting, interpolation, soft picture, etc. I’ve heard the Snell & Wilcox Alchemist HD doesn’t even do 23.98.
We did a DV 29.97 output from FCP through the Teranex with reverse pulldown to HDCAM 23.98. It looked really good as expected, but we did find ghost frames and the edit points were softened as we’ve seen before in this specific upconvert from DV to 1080 workflow. Now enter the insane realm of the fully optioned Teranex VC300: It has video over film cadence tools. Once correctly configured, all artifacting of ANY sort was gone – even for this crazy 23.98 DV upconvert to HDCAM mastering.
This box really can turn apples in to oranges. Ever need the highest quality up/down/cross convert? Call me.chad
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I have Kona 3. Better yet for this project, Teranex.
I think we’re stuck in 29.97 pulldown territory. We will live. Thanks for the input!chad
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