[Chris Wiggles]

And you do have to CALIBRATE the TV so what you’re looking at is actually accurate.

If you can’t afford the hardware to do this properly, then hire a professional calibrator. Many TVs now have CMS (Color management systems) built-in, and quite a few of them actually work properly. This should allow you to achieve a staggeringly high degree of color accuracy on the display as long as you feed it an output from the computer properly with an output card and test your workflow so you know you’re getting the right signals and seeing what you’re supposed to be seeing.

A professional broadcast monitor is just a fancy high-performing TV, usually with different features. There are some pretty crappy “broadcast monitors” out there, and some stunningly exceptional consumer TVs available too. Your reference should be the best possible display you can afford, and whether it has a “professional” sticker on it or not is irrelevant. What matters is the accuracy of the image it produces, nothing more.

Regards,
Chris

[Chris Wiggles]

This is a really nifty idea to add some flexibility to adjustments that I had never considered. I’ll have to come up with an excuse to need to do that…

Anyway, thanks for the idea! 🙂

Regards,
Chris

[Chris Wiggles]

You are not being very clear as to what you’re doing here.

Standard definition DVDs can be letterboxed 16:9 (basically 4:3 with bars authored on the disc), or anamorphic 16:9 (stretched, no bars written on the disc all disc res used for the video), depending on how you authored the DVD.

In both cases the pixel sampling aspect ratio is non-square, because NTSC is non-square, even when it is non-anamorphic (not stretched). But you can sort of think of it as ‘square’ letterbox 16:9, or ‘squished’ anamorphic 16:9.

But you are being so vague, I can’t really tell what it is you’re doing, because frankly I’m not sure you know what it is you did…

Regards,
Chris

[Chris Wiggles]

You just need to connect them to the same network, hopefully on a fast switch. You could connect them via the 2-port switch on the mac if you want, but then I am pretty sure you have to have the mac on to have network on the other computer. Seems silly, I would ignore the dual ethernet ports and simply use a gigabit switch and connect both computers to that, per normal networking practice.

Then you can set up your cluster. When you use compressor, you can just select local computer, or the cluster of both once you have set that up, depending on what you want to do.

Regards,
Chris

[Chris Wiggles]

IF these are just still slides, you could just do a framegrab of the slides and basically create a still JPEG, and stick those in.

I would probably use two video tracks, just dump the entire video of the talk with its audio into V1. Then create a V2 track, and edit in all the still frames from your presentation slides as needed into V2. This way you’re not actually editing into the video on V1, and you can move around your slides very easily to time them how you want without trouble.

Final Cut plays whatever the uppermost video clip is (long as the track is turned on), so wherever the slides appear in V2 above the V1 video, that is what you will see rather than the video underneath it.

Hope that helps!

Regards,
Chris

[Chris Wiggles]

DSLRs have moire problems. They’re not properly designed for video because they don’t take nyquist into account and are not a complete optically-designed system for shooting video resolutions. It’s not something you can get around entirely besides hiding it with blur, or putting a blurring filter in front or your lenses and re-shooting. Or using a different camera. Life is full of compromises, and this is one of those unfortunate compromises of using a DSLR for video.

There is no free lunch, sadly.

Regards,
Chris

[Chris Wiggles]

Thanks for the thought Kevin!

I formatted this for Mac OS Extended (journaled) when I bought it, so pretty sure it shouldn’t be a filesize issue.

I’m tending to think it is a USB or camera issue, not sure if it’s the USB between the camera and the Mac, or between the Mac and the Hard Drive, or a combo.

I have transferred the camera files manually to the HD so next step is to try to import the footage from the hard-drive rather than the camera’s HD, and see if that makes any difference.

Regards,
Chris

[Chris Wiggles]

I can try to do that, however as I said this is not coming off an SD card, but off the internal 250gb HD of my camcorder, so it would take a while to do that but that sounds like a work-around in anycase.

I have in the interim been able to transfer the long clips by ingesting 5-10minute portions of them individually, and am continuing to do that.

I just don’t really understand what the problem is, and if there is a solution I’m not aware of, or if there were, say, inherent difficulties in ingesting such long clips of content, or in doing it via USB.

Regards,
Chris

[Chris Wiggles]

[Corey Gemme] ” So after all this my head is spinning!

So is the verdict that the Panasonic tm700 does do 6op?

Am I correct that I can turn 60i into 30p if I want?”

Yes on both counts.

Note that turning 60i into 30p is in this instance simply deinterlacing with whatever tools you have at your disposal, with varying quality to match. This is different than filming at native 30p of course, which the tm700 does not support. You can record at 60p and then drop frames to 30p if you want which would be largely(but not totally) the same as filming at 30p.

Regards,
Chris

[Chris Wiggles]

Nope.

But you can always zoom out to see the entire area of what you’re playing if you want.

But AFAIK no way to stay zoomed in and have it scrolls as it plays.

Regards,
Chris