Dave Friend
Forum Replies Created
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[Timothy] “Major problems: First, the hour code in a digitized clip is arbitrary and has nothing to do with duration, which would determine time code offset. The offset should be figured using the minute code only.”
Perhaps I do not understand what you are saying, but the offset between NDF and DF timecode values accumulates over time. The further you get from hour zero, the greater the difference between the NDF and the DF representation of any given time value becomes. Therefore your assertion that hour value is not relevant is incorrect. The DF/NDF offset cannot be determined without considering the entire value including the hour. And yes, it does pertain to duration – even if the duration is short.
You are absolutely correct when you say correct TC handling is crucial to offline/online workflow. And I do not claim that Adobe has solved the long-standing DF/NDF timecode handling issues. To be honest, I have not had to deal with mixed TC sources since the release of 2.0.
Oh, and the representation of the value 07:15:05:00 NDF as 07:15:31:04 DF is 100% correct.
Dave
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[Bonnie1100] “How many times can you compress to DVD?”
Depends of the format of the audio. If the DVD’s audio is in PCM (a.k.a. wav) format it is essentially uncompressed. You can bring that audio back into your editor and be unconcerned about multiple passes. If the audio is mpeg or ac3 (dolby) then, as you assumed, bad idea. In that case have the client send you the audio track they put on the DVD.
Dave
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On the PC platform you will probably need an authoring programs like Sonic Scenarist or Sonic DVD Producer to accomplish this task. These are the only authoring solutions that I am aware of (not to say that others don’t exist) that provide this functionality. Oh wait, you should investigate DVD-lab from mediachance.com as it offer very complete access to the DVD spec for programming.
On the MAC, DVD Studio Pro can probably do what you want.
Hope this helps.
Dave
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[Giant Interactive] “For those familiar with Cinema Craft, there is an option to leave the levels the same (0-255) or reduce (16-235) during the encode.”
As I understand it, the Luminance level setting you refer to determines the math used for colorspace conversion. Specifically, to convert RBG material to component (YCrCb) format – the format CCE uses internally. In other words, you are telling CCE what levels the input material is using, not setting the output levels.
I am curious about how you are determining that the levels come back at 255? I’m sure there is a visible difference. But how are you making the measurement?
Dave
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[Brett Howe] “What HW can output this to SD SDI from the timeline without rendering, with TC etc?”
You want SDI because you output to a format other than HDV? Then AXIO is a good place to start looking. If you will be going out to HDV tape then the 1394 connection will produce the best results with the least fuss.
Dave
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Alex,
Obviously, the sound card must be installed first, but then it must functioning properly with ASIO drivers. Then it will appear as an option on the Audio Hardware page of PPro’s preferences. Once PPro knows to use that card, then use Preferences again to set Audio Output Mapping.
Not sure about Encore, but it’s probably much the same.
I don’t know how well it plays with PPro but you should look at Echo Gina 3G which I believe has a good reputation.
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I believe that is the bundled with PPro price. I have not found an unbundled price yet. RTX100 owners can get a $200 rebate when they turn-in their old board.
The show-stopper for me is the lack of 24p or HDV 720p support.
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Both require an understanding of how to achieve the best results for a given input. But other than that they are about equal. I prefer cinemacraft.
Dave
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Norman,
Your dolby encode license should work with 2.0. It does on mine. In my case, 2.0 was installed before removing 1.5 and the license transfered without issue. I did get the “you have 3 trials” message the first time it was used, but it has continued to function well beyond three encodes. It continued to work fine after 1.5 was removed from the system too.
As Tim suggests, contact Minnetonka Software to find out what has to be done to reactivate your license.
Dave
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Jeffery,
If you match frame the clip from the timeline to the source viewer and then edit it back into the timeline the original audio will be restored. You must match frame to the master clip not the reference clip in the timeline. To do that all you have to do is park the timeline cursor somewhere in the clip (do not use the double-click method to match frame the clip) and make sure the track of interest is targeted – then press the T key. You can now mark in/out points on the timeline and overlay edit the clip back into the timeline. The original audio from the capture should be used.
This might fail if you sent the master clip from the bin to Audition instead of a reference clip from the timeline to Audition. I don’t know that for sure as I haven’t tried it. I have used the method described above many times.
BTW, you know you have a reference clip in the source viewer when the name of the clip (as shown in the tab on the source viewer) includes the name of the timeline before the clip’s name, i.e. “The Big Show: closeup of star.avi”. A master clip would only have the file name.
Hope this helps.
Dave