[Daryl K davis]

I must be doing something wrong. When I play back footage in the 24 frame per second sequence it only stays parked on one frame when I start play and jumps to the last frame when I stop play – it doesn’t play back the clip for viewing on an external NTSC monitor.

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

My new 8 core is way faster than my dual 2GHz G5 – I’d say at least 3 times as fast using compressor and rendering FCP.
As far as waiting for the next generation – this IS the next generation of Intel MacPro Desktop machines. That’s what I waited for since last summer.

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

Yeah, this particular facility been a FCP shop for a number of years now. All-in-all the process works fine with FCP. This is my second MOW with them but I’ve done over 60 TV episodes there as well. All pretty much the same process: Shoot film or HDCAM-24p, off-line in SD with DVCAM downconverts, email media managed project file or EDL back and on it goes.

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

Yes. The speed thing hasn’t really been a major problem, it’s just that the on-line editor wondered why I always had such weird speed change percentages.

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

The HD conform place keeps grumbling about why the speed changes are such fractional numbers.

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

Ah, I see in this case that may be so. But it happens on many occassions when I use other percentages. 40% becomes 41.2%, and so on.

Is there ‘set’ speed changes that translate to the frame accurately?

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

Go to:

User preferences / Editing / Still/Freeze Duration

set to 1 frame

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

Yeah, I guess I could do that. I do have one of those Nitro AV Firewire Expresscards so the IO would have it’s own firewire bus. I’m only in SD so maybe that’s the best way of looking at it.

Thanks,

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

Wish I was there. I’ve got 3 days between picture lock on an MOW and starting the edit on a feature, and today I just got my new 2 x 3GHz Quad-Core to set up.

Have fun in Vegas. I’m about to enter the octogon.

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

Audio requirements for you distributor may also be a consideration. I’m finding I’m frequently asked for D5 because of track configuration: Stereo 1&2, Stereo M&E 3&4, & then 5.1 Dolby E on 5&6, and that leaves tracks for various language stripes etc.
Also this D5 is in 24p or the Universal Mastering Format as it’s often refered to. The PAL and NTSC broadcast delivery masters are cloned off from that, although you do need Dolby E encoding for 5.1 for HDCAM as it has only 4 audio tracks.

HDCAM SR is newer format so that doesn’t seem to be asked for so much, but I’m guessing it will become more popular in time.

But as someone said…”the price of those D5 tapes”… whooey

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DK Davis / Editor/ Post Super
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