Dan Riley
Forum Replies Created
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and if you don’t have excel, you can open it in textedit and just use
find/replace to do the same thing.Dan
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Whether you believe it or not, (and I’ve been working with tape to tape
and broadcast TV since 1972 and have built broadcast transmitters
and physical plants and know a thing or two about visual and aural
as well and video and audio) using FCP from 4 to 5.1.4, the broadcast safe
filter, used through Aurora Pipe Studio, into a Tektronix waveform
monitor, either directly out of the card or looking at the output
of the DigiBeta deck, correctly limited Chroma at the set point
I tell it to limit at. If it’s not working for you with an AJA card,
I think we need to ask them why. Since I’ve got to buy the KONA 3
or the Io-HD or the Blackmagic versions this summer to move to HD,
maybe be we need to find out why AJA has not been able to make the
Broadcast safe filter work correctly. Have you ever asked them why
the chroma adjustments don’t work?As for your comment about reducing total chroma in a scene or
clip versus clipping it at 105 or 100%, this should not be your call.
It should be the person doing the color correcting and looking
at the shot or show. The look of those two different ways of
handling the scene are totally different.
Just the same as it would be to lower the overall video level
to under 100% if your highlights were over that point,
as opposed to clipping them at 100. It all depends of what
the shot is.Dan
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Totally incorrect here.
Take a clip with saturation at 115% for instance.
Drop the broadcast safe filter on the clip. Using the custom setting
(or using the very conservative setting which limits chroma to 105%
and luminance to 100%.)
Set the saturation for 105% (legal for broadcast) and that’s what you get.
You want saturation limited to 100%, set it for that.FCP 5.1.4 output through Aurora Pipe Studio. Always worked.
I assume you are looking at your output on a scope
looking at the output of your card, whatever that is?Dan
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Hmmm,
I don’t have FCP 6 yet, but in previous versions, the Broadcast Safe filter
did indeed allow you to set a maximum output of saturation.
Are you saying the FCP 6 version doesn’t allow this anymore?In FCP 5.1.4 (and previous versions going back quite a ways)
in the mode you select custom, then set the sliders were you
want them to limit or luminance and chroma. Works for me.Dan
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When you MM a project for uprez, FCP seems to work differently than AVID.
FCP doesn’t record just the audio, when all you need is the audio from a clip.
I’m not absolutely sure of this but that seems to be what I’ve seen in the past.
My projects during the offline are so large that once I do the MM for uprez,
what FCP is capturing is so much less material that I don’t really notice
for sure if it’s doubling up some of the clips.If you have drive space issues, you certainly can create an AIFF
audio file of the sequence, then only capture the video and that’s what you did.
The only issue with doing this is, you won’t have handles in your AIFF file.
Another idea would be to MM twice, once for video and once for audio.
But obviously this is double the work and double the capturing time.There may be other options. I don’t admit to being a MM expert,
but I have done quite a few uprezzes with it. Sometime they go great
and sometimes they are big pain in a butt.Dan
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Yeah, me too David.
I don’t get it.
2 hours of footage, times 2?
And you are outputting in DV?
Why the heck did you not capture in DV to start with?
52 gigs of space?
Oh My God!
The Horror!I do at least 4 camera SD multicams a year (not my only jobs)
and we shoot for two days and have 12 hours times 4 cameras to capture,
simultaneous timecode. I offline with DV then uprez to uncompressed.
FCP works fine for this, but going forward with HD, DVDPRO HD
at 24p, I WILL NOT uprez anymore. I will capture DVCPRO HD
at 24p and finish that way. WHY?, because the storage for that codec
is only a bit more than twice DV. Imagine that. Now I don’t have to uprez anymore.Storage today is dirt cheap. Your time may not be.
Dan
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Sorry David.
Dan
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Definitely what Bob said about AC3. That would be a big problem not using it.
Next, you should consider creating a quicktime reference movie of your rendered sequence
then drop that into compressor. You will find the MPEG2 encoding process happens
much faster this way, in addition to the fact you can go back to using FCP.
This may not have anything to do with your DVD playback problems, but
this is the preferred workflow for most of us.Dan
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At NAB they were saying $3495.
Pretty good discount if it holds up.Dan
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Yes, they could work together.
So you play the Flint timeline and record into FCP. But with the Io HD,
the highest resolution you could record the material at, would be Apple’s
ProRez. We don’t really know what it looks like yet, but it may be
just fine for what you are doing.You can’t buy the Io HD until July or August anyway so there is time
for people to see what ProRes looks like in the mean time.The advantage of the Io HD is it’s portable, connected only with the
firewire cable. If you don’t need portability, why not go with KONA 3?
That way you could record uncompressed if need be or the new
ProRez as well.Dan