Chad Brewer
Forum Replies Created
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What capture I/O card/device are you using with your Mac?
Is that card/device being fed video reference?
Is the HDW-D1800 being fed video reference or is it set for input video?What’s your device control in FCP set to? Is it still on a 23.98 setting like your sequence? If the device control isn’t set to a 29.97/59.94i setting, this could account for the inaccurate edit.
Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago -
Mick,
Blackmagic’s “easy setups” that install with their drivers have the capture presets as ProRes 422HQ by default.
Simply go to the capture presets in your FCP A/V settings, duplicate the one you are using and give this new one a different name so it’s distinguishable, and change its compressor to 422 from 422HQ.
Make sure you have this preset selected whenever you are digitizing and and you’ll get your clips at 422 (and save a lot of hard drive space).
Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago -
Shane’s correct that DNxHD is not a real-time codec in FCP as far as adding any transitions, filters, etc., but it “SHOULD” be a real-time codec for playback of a self-contained Quicktime. And it is, but as you’ve seen the black levels get improperly raised and it’s most easily noticed when the playhead is stopped. I’ve been over this issue for years as the facility I work at is all FCP based, but we of course have to do mastering and other post work on DNxHD files from clients who are Avid based.
You can see the improper black levels in FCP of DNxHD files on the waveform scopes. Just try a DNxHD file of color bars only or watch the scopes when you pause the playhead. You’ll also notice because of not being a real-time codec in FCP, that you’ll see weird behavior of the FCP scopes when looking at the file.
And years ago, I finally figured out what’s going on here. It’s as simple as this: FCP misinterprets Rec.709 color space from these files. It’s as if FCP thinks they are RGB, when they are actually Rec.709. So, you have FCP treating a Rec.709 file like it’s RGB and the levels get whacked out of sorts. Primarily the black level.
The fix for this is to transcode the DNxHD files to Pro Res in Compressor. Compressor translates the color space correctly to the Pro Res file that will then be properly translated in FCP.
It’s kind of an Avid on the PC and FCP don’t play nice together thing.
So you could do what Shane suggested – use an NLE that works on Mac and PC.Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago -
Right.
Usually 19&21 for PAL VITC.Misjudged that the original poster wasn’t on our “American” system.
It’s hard to tell when people don’t explain whether they are on an NTSC or a PAL based plant, regardless of their geographic location. He assumed, I assumed. Oops.Here’s another assumption: I hope you’re rooting for Cadel Evans this year, but perhaps that’s for another forum.
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago -
Line 21 is the line allocated for closed captioning, not 23.
VITC is usually allocated to either lines 14&16 or 16&18.
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago -
You do know that you have to take the entire side cover off the Mac Pro tower and install this from the inside, not through the back, right?
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago -
Hey Shane,
After this post, I’ll be stepping aside as I’m sure our friend Jeremy G. will find interest in figuring out what’s going on here. Also, I swear there was a thread either here or in FCP with someone having the EXACT same problem in the past year or so.
I was having a completely separate issue with one of our KONA 3’s recently and it was advised that I re-seat the card in a different slot. That was not the solution to my problem, but I do seem to recall something about a slot configuration in regard to this problem. I’m not sure if that is a solution, but I know that different vintages of MacPro’s want the KONA 3 in a specific slot. I found our year old MacPro could run the KONA 3 in either slot 2 or 3 with no problems. So, I don’t know if changing slots would be a good idea or possible solution for your problem?
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago -
[Daniel Ludwig] “if you are creating buttons with encore they could only have the color that´s been set in the menu color palette.
“Thanks much for confirming that Danny.
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago -
Well, I have figured out as I’ve done before that this is easily achieved by the settings in the menu color palette – you have to select a color to key the button. Fine.
But, Encore can’t treat that as just an image that is either on or off, instead of being keyed on? Thus it worked fine by turning the button into a black/white key, but I really wanted to use the true image…Not possible in Encore?
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago -
[Eugene Cruz] “I am wondering do any of you broadcasting engineers knows
who would buy, or what network company would be seeking DVR-20
VTR with an offer”I think that offer would have to include something on top of the D2 that they would actually use. Maybe e-bay it and hope someone needs it for parts. We have 2 that are still in rack-mounted service, but only get warmed up for archiving purposes these days. If you can find someone with their entire career still sitting on D2, you may have a chance, but it is slim.
Don’t be surprised if Bob Zelin chimes in and says something like “make a coffee table out of it” or “use it to heat up food.”
Chad Brewer
Senior Broadcast Videotape Operator
TeleVersions, LLC – Chicago