[Daryl K davis]

Strange that I can open older projects created in FCP4 but not FCP3. It just kind of blips and that’s it… no query box comes up asking to update or anything.

Could it be they were created on an older Mac OS9 system?

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DK Davis / Editor/ Post Super
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[Daryl K davis]

How much data can be archived on a longer DVCAM tape – say a 184 minute tape?

[Daryl K davis]

That happened to me and after re-installing and trashing and so on, I found that I had a corrupt font. Not easy to find which font it was though – almost like finding a needle in a haystack.

[Daryl K davis]

Hopefully this will pave the way for Macs with PCI-express slots as well.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Why would the timecode be different on DV than it is on the BetaSP or Digi-Beta? If it’s a direct clone they would be jamming timecodes would they not? If you are concerned about the integrity of timecode on the DV format I wouldn’t lose any sleep. It is a good idea to capture via RS-422 port instead of firewire deck control. That is usually where the frame accuracy can be variant. But that is a DV deck issue and not a timecode issue on the actual DV tape.

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DK Davis / Editor/ Post Super
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[Daryl K davis]

NickM:

“had success with my last big MM’s slow-mos.
i;d prepared for problems by tracking down all the slo-mo shots, copying them to the end of the timeline,
and removing ther speed attibutes. ”

I have done this for a while and I too don’t have problems with speed adjusted clips. It just seems when you have the standard speed clip somewhere in the timeline – I put them at the end after my textless clips – it has a standard basis of the clip to relate to, and there are no problems with the speed adjusted clips. Why I don’t know?

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DK Davis / Editor/ Post Super
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[Daryl K davis]

Yeah, SATA

I’ve had lots of Lacie drives and I’ve had three crash and burn. Thank goodness I do safety backups of all off-line media on any particular project. But then again, they have paid for themselves many times over.

SATA does sound appealing to me though. I just think that with carting drives and media around, I wish there was a SATA to FW800 drive adapter for moving projects to other systems.

Anyways,

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DK Davis
Editor / Post-Production Supervisor

[Daryl K davis]

This has been posted before but here it is again.

On DSR-45 menu go to TC MAKE and select PRESET and exec. THEN on menu go up to TC PRESET, go over to PREST and then set your timecode entry and SET and exec. Stripe some timecode to head of your tape and stop. Then on DSR-45 menu go to TC MAKE and select REGEN. In FCP select an in point, then select EDIT TO TAPE (make sure you again set same in point) and ASSEMBLE edit to tape.

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DK Davis
Editor / Post-Production Supervisor

[Daryl K davis]

[Daryl K davis]

I’ve worked with footage shot at 24p with that Panasonic A100 camera. I captured it like any other DV footage from my SONY DSR-45 and editing in a 29.97 timeline. No problems at all. That is the whole point of that camera isn’t it? To have footage that ‘looks’ film-like but unless you are going to film-out the project or burn a progressive scan DVD there is no point to reverse telecine the footage and edit in a 23.98 timeline.

It’s not overly complicated… is it?

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DK Davis
Editor / Post-Production Supervisor