David Battistella
Forum Replies Created
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I would avoid deleting the orignial audio captured with the clip as final Cut and QT will createa relationship between the two files.
Perhaps you could later create an audio only sequence and have final cut recapture the audio from the DATS, then you could cut the audio back under your picture sequence.
David
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Thanks Gary.
d
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HDV is not High def it is HDV. It is purely prosumer and not a really viable pro format. Sony did not even put deck control into the deck. it pretends to be a standard but is not interchangable between companies (JVC footage does not play back on Sonay decks and Vice Versa.
The Varicam is 5 years old now (they seem to be half way through the alphabet on model numbers already) and the newest 9 thousand dollar camera from panasonic has all of the varicam features (albiet on a 1/3inch chip with a fixxed lens.
Sony is promising a blue laser variable frame rate camera that records HD in the range of 35K at NAB so let’s see how panny responds to that.
The real problem is that the broadcasters need to be coming up with an “industry standard” because there are no more industry standards, there is film and there is everything else. The nice thing about film is when you spend the money up front on quality you are not going to cheap it up after that. So if you shoot film, you aren’t going to transfer it to DVCPRO or HDV, you would continue with a high quality workflow. The problem is that people want to go the other way and that’s where standards fall apart.
Now, I also have a completely rebelious side that wants anything to emerge and solve all the problems of spending big bucks in production, but in a way Bob Zelin is right. It takes a bit of dough to play with the big boys.
David
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I have heard the the Panny D5 decks are much more robust and require a lot less maintenance than the F-500, plus it is a full uncompressed deck. Yes. I know the problem is, who will take delivery on this format, but, from the sources I have spoken to the F-500 has a lot of problems, are expensive to maintain and are not the “built to last machines” people are used to from SONY.
Bob, it really looks like there is going to be a great widening between “real” HD and (HDCAM, HD SR, D5) and pretend HD (HDV, etc) To me this looks like SONY’s way of cutting the great divide in teh market and separating PRO from everything else. So their attitude will be, “want to play with the big boys, pay the big bucks”
Ah, Japanese marketing tactics. You gotta love it.
David
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Does it support h264 or non standard size moves yet?
David
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Jay,
If you have the render bar then your sequences and captured footage are mismatched.
What did you set the capture preset to?
Should be DV NTSC FIREWIRE>with advanced pulldown removal checked.
Your second post already ignores good advice from people who have done tis many times over. It feels like you are in a bit deep and the problems are a big larger than we can explain in responses to these posts.
I know that this is the basics forum, but you are getting into a large project with huge media management issues. DV is a very robust tape format and I wouldn’t worry too much about the scrolling. If your footage is that valuable then rent a deck for a few days and capture it that way.
I appreciate your predicament and I am sure that all of us will halp you as much as we can, but please try to isolate your problems into a few simple questions that you want answered. This might be the best way we can all help you out.
David
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Andrew .. We all apreciate your apreciativenes. 🙂
David
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The pca extension seems to be a windows media based extension. if you can get these files open in some form of software and export them as .aiff or aif files at 48k then FCP will have no problem reading them.
David
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Todd is absolutely correct. When you have logged a clip in FCP then the actual media file on the disk gets teh exact same name. Why is this critical, well, when you get three months into things and you have brought in more tapes and you have hundreds of pieces of media named Untitled you are asking for a boatload of trouble.
Managing large projects is what I do and I have a very specific method for naming media and clips. All clips are first logged as their tape # then clip number. I never capture more than ten minutes. The naming convention Tape_001_Clip_001 and so on carries over to the media file name. each of these then gets it’s own folder. TAPE_001, TAPE 002 etc and so on. It is also nice to put shoot dates on the Folder name.
Why? Is this over kill. Guess what. I just took a whole project like this compressed it to samller QT files and copies it to another drive so that the director could log favorite shots and screen interviews, the clip name is in the top of the QT window and the timecode can be seen with third party software, so see where we are going with this.
If I want to then subclip and rename clips no problem. It all references back to the media. This is also ey usefull if you happened to enter the wrong reel number for a tape, etc, because you won’t get caught.
If there is somthing to be anal about with large project management then it is definitely naming and numbering reels and clips correctly at the onset.
If you don’t want to be one of those people scrambling at the online then line the ducks up now.
David
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Maybe go buy this:
and take the component outs of the Kona 2 to record to it.
somewhat odd request 🙂
David