[Dan Riley]

Did you get this fixed?
Did anyone at AJA help you solve this?
(it doesn’t look like you got an answer here).
I’m interested because I’m in the middle of the “AJA or Blackmagic”
question and D5 may be in our future.
Your problem is serious, to say the least.

Thanks,
Dan

[Dan Riley]

OK, after doing some googling, I found this info that says 24F is not progressive
and not interlaced either. It’s a proprietary thing Canon does to make it look like
24p. I guess the proof will be in what it looks like.

https://www.camcorderinfo.com/content/Canon-Announces-HDV-High-Definition-XLH1-with-1080i-with-No-24P.htm

dan

[Dan Riley]

What’s 24f (F, on Canon’s site, but no explanation of what it is).
Is it 24P, just a different name?

Thanks,
Dan

[Dan Riley]

You’ve probably already tried this, but if one of my firewire drives
doesn’t mount at startup, I open disk utility, highlight the drive and
hit the mount button. Usually works.

I only use Firewire drives for backup and they are very useful for
putting an entire offline and online project on one 500 or 750 gig drive.

Dan

[Dan Riley]

Linda,

The reason this is important is because the higher the data rate of the
codec you are using, the more you have to worry about the speed of
your drives, or drive if you only have one. RAIDs are best for all
editing, even DV, because you get a much higher average date rate
from the drives to FCP and back. Apple has never recommended
using firewire drives for editing but that doesn’t mean it doesn’t
sometimes work. It’s just that you can’t trust it.
It’s all in the manual. It’s all very clearly explained.

Go to your browser and scroll the columns until you see “compressor”.
What does it say you are using?
If it’s DV/DVCPRO, which is most likely, ok. Your drive should handle it
if there is absolutely nothing else wrong. But editing with firewire drives
is dicey. In your case, if you have a 1.67 Powerbook, you most likely have a
800 firewire port. You should consider buying an 800 firewire drive
from someplace like macsales.com
This would give you more headroom for the data rate that FCP wants.

In the sections where you are getting dropped frames, are you
doing any effects? Do you have more than one video track?
Have you tried rendering the sequence before playback?

Not that I’m recommending this for normal everyday operation,
but you can turn off the dropped frames notification under
user preferences and edit without getting the dialog box.
But when you are all done, before outputting, you MUST
turn this back on and render everything before playback.
Go to sequence, render all, and checkmark all the colors,
including audio.

Dan

[Dan Riley]

What codec are you editing with….I mean, is it DV or DV50 or uncompressed?
Is the drive 400 or 800 firewire?
Is there more than one drive connected?
Is there anything else connected to our firewire port?
What Mac are you using and how much RAM is in there?

I don’t know for sure that de-fragmenting the drive will help
but if you wanted to try it, I’d for sure recommend Disk Warrior
to do it.

Dan

[Dan Riley]

People are saying OS 10.5 and a new version of
FCP, both at 64 bit will make a larger impact on speed.

Dan

[Dan Riley]

Well Sony, of course, claims it doesn’t matter, but like I said, I’ll rent it and try it
on a shoot and see how everything goes. I’ll even do a little blue or
green screen tests to see about keying. 4:2:0 actually ends up being 4:1:1
which was not the best sampling for chroma keys in my experience.
But I was doing SD, so maybe it’s better in HD.
Here’s a nice reference site:
https://www.answers.com/topic/ycbcr-sampling

Dan

[Dan Riley]

Yeah, this is something I didn’t really “get” until I saw the demo.
And the more I think about it, the better it appears to be.
It’s almost like being able to hand off the batch list to another
FCP workstation while working on logging the next reel.
Yes, this background transfer feature is pretty cool.

What quality level are you shooting and importing….25 Mp/s?
If so, how does that look as opposed to the 35 Mp/s ?

Dan

[Dan Riley]

Walter,
Do you use this workflow for your HD roughcuts?
And do you finish at 8 or 10 bit uncompressed HD?
Or do you finish in DVCPRO HD?
Finally, does your Food Network client (I think I read
that’s what you were working on) take DVCPRO HD tape or
D5 or HDCAM ?

Dan