[Dan Riley]

What is the pixel size of your photos?

And btw, it won’t make any difference if you do this sort of thing in an
8 bit or 10 bit timeline. The problem is somewhere else.

Dan

[Dan Riley]

I’ve played around with CatDV and it works well.
I was looking for a cross platform quicktime timecode-reading solution
and this one works for that purpose. It does much more of course.
But the price is much better than dedicated logging solutions like
https://www.imagineproducts.com/hdlog.htm

Dan

[Dan Riley]

I don’t follow.
“One minute before you edit to tape”?
Actually set the prefs one minute before you output to tape, in real time?
Is that what you are saying?

And what if edit to tape wants to render something that took you 6 hours
like some of my sequences with Boris chroma keys and other noise
reduction filters will result in?

Just want to understand what you are saying.
If there is a bug I don’t know about that I can work around with your info,
then I’m all for it.

Dan

[Dan Riley]

This happened to me a month ago. Everything was rendered and edit to tape
insisted on re rendering. I put the question on here and got a answer that worked for me.

In my sequence I had a video track which I had turned off, but left in the sequence.
For playback and rendering this was fine, but when I dragged the sequence to
edit to tape, the rendering problem came up. I copied the sequence, (because I wanted to
save the sequence and use that turned off track later….an 800#) and then
removed that turned-off video track, then rendered, then edit to tape DID NOT
re render. There is some kind of bug in FCP that makes this happen.
Hope this helps.

Dan

[Dan Riley]

Are you having trouble playing back the sequence now?

If not, why do all that?

And, for what it’s worth, if you render your entire sequence (all blue all the time)
it’s just about the same as doing what you are talking about doing. Going after
a few render files is much easier than going after scads of individual clip files.
You should always do this anyway, Render All, before outputting to anything.

Dan

[Dan Riley]

When exporting to Quicktime Movie, under settings it will say “current settings”.
You leave it there, yes. And as was already said, DON’T check the box for
making movie self contained.

dr

[Dan Riley]

I don’t work with firewire in at the moment (I use a capture card with SDI)
but you should be able to set your capture preset to 32k.
Under Audio/video setting- capture presents- to
whatever present you are using, double click. A capture preset editor should come up.
Under quicktime audio settings, format… can you not select something other than 48k ?

Dan

[Dan Riley]

Too bad Aurora still isn’t making the Pipe Studio, like I use.
It had all those things out Simultaneously with no delay and
no cable switching. And has XLR and AES out in/out too. It is a very nice
and smooth running board/system. If they had stayed in the game
to make an HD boardset, me and many others would have
most definitely bought it.

Otherwise, what Walter said.

Dan

[Dan Riley]

I just did a show that used chroma key interviews I shot using Sony 790 Digibeta.
The look of this camera is one of my favorites along with the clean tape format.
Used the Boris Continuum Complete software with FCP and it looks fantastic.
Did the timeline uncompressed. Render times are more than I’d like
but that’s the nature of chroma keys on FCP. Ultimate is the same or worse for
render times. My experience with chroma keys is, you can use DVCAM 570
but you need a 411 filter like Nattress and that will smooth out the edges but
I wouldn’t do it on a critical show.
BetaSP 600 is pretty good but it’s noisier in general so the key isn’t as good.
Digibeta 790, the tape is clean and the camera looks nice and it makes
the best key.

I guess if you can record to hard disk, you might consider
the Panasonic SDX900 and take the firewire out LIVE to FCP to record it to
DVCPRO 50, which also makes a great key. I did that on another show
and the keys were as good or almost as good as DigiBeta. But I don’t care for
the look of the Panasonic camera as much.

Dan

[Dan Riley]

Here again, maybe we aren’t communicating.
You said you have one tape that is the entire event, let’s call it cam1
And you have another tape that is the first half, let’s call it cam2
Then you said you have a third tape that’s the second half, call it cam3.

You make a multiclip with ONLY cam1 and cam2, using inpoints.
Then you make another multiclip with ONLY cam1 and cam3, using outpoints.

Load the first multiclip into the viewer.
Then hit the insert or overwrite button to put it on your sequence.
Edit away, using open if you want.
When you get to the point in your show where you lose cam2,
you now load in the second multiclip in the viewer, put an input
in your sequence, hit overwrite to put all of that multiclip
on your sequence, then hit open and edit away. No?

Dan