David Battistella
Forum Replies Created
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I’d e-mail AJA tech support on this one. It seems like that converter works with RGB component signals so it might only be good for the Betacam.
Daivd
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Scott,
Just to add a bit here. You can, of course capture any source to any codec (provided it is the right frame size) The JVC HDV is a 270P format whcih you would have to upconvert on the fly (via the Kona 2). You if you select a DVCPROHD capture codec you have to be upconverting the source to that frame size. By doing this you can integrate the footage with DVCPRO HD footage, because you have capture it all to the same codec. You could do this with DV, 10-bit uncompressed etc.
The real trick with the HDV codecs is figuring out if you can later recapture that footage with TC accuracy and because HDV is a lon GOP (.mp2 data stream) it does not have sequential frames (only i and P frames at 15 frame intervals. THis is why you could not edit frame accurately tape to tape with HDV there are no individual TIMECODE frame references on teh tape. THis makes frame accurate recapture sort of impossible.
So if you are integrating HDV into an offliine, online workflow you may need to dub all of the material to a format that carries time code.
David
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Bob,
This response is an excellent resource and well worth the price of a beer. 🙂 If we ever meet in person I will buy you that beer! My only question is this. What if you are running the F-500 Deck which records and plays back in both 59.94 and 23.98? Does the tri-level sync only apply to the HDW-M2000/1 deck?
What about the SR?
Thanks for this wealth of info.
David
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Gary,
In 10-bit uncompressed HD I have yet to see an RT filter not need to be rendered. 3-waycc, titles, everything needs to be rendered.
David
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I have done it to an F-500 deck without tri-level sync. The deck locks to the incoming HDSDI video source which the KONA supplies.
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Jadranko,
I have the Fiber and HUGE FC4210 Combo. It is great. It is reliable and I have had no problems. With the disk 85% full in raid three mode I still was getting about 380 MB/sec read and write times. 4 Gigabit fiber is a viable solution.
It is great in both HD and SD and 7streams of DV, 8 of Uncompressed 10 bit, but here is the down side.
NO STREAMS OF RT IN HD uncompressed. This is doe sto a limitation inthe KONA 2 Driver not drive speed or FCP. The moment you use a 3 way CC or and effect in 10 bit uncompressed there is no real time.
This is why it is good to have as large a drive as possible, because you are going to always double your footage with the rendering you have to do. So if you plan on HD onlining 90 miute films you will need more than 180minutes of free space to make room for the render files.
David
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FCP does not hand off a TC stream from the timeline. It only sends the first frame and the rest of the counting is done by the deck.
I know this because with my Aurora products they actually had TC in and out on the breakout box so that it could have been a signal that you could route via a DA. This is, as we all know, extremely important in any tape based environment and would have solved many of the frame accuracy/edit to tape/insert edit problems we have experienced over the years.
FinalCut Pro timelines do not send audio TC data from the timeline, but AVID’s and even Adobe Premiere recognize timecode from the timeline as an important production tool.
I encourage people to send this in as a user request via FCP feedback. AJA, DECKLINK< AURORA or anyone else who makes hardware can not take advantange of what is not there from the software. Timecode is my life. David
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Rich,
I am with you all the way on this one. FCP is a DV editor. It is perfect for DV it works it’s very best in DV mode. and 80% of the installed user base does not have a capture card. SO offline, online is not a major concern at apple. by ignoring these issues they only upset one fifth of the Apple cart. Wop de do. I agree that if you are going to assign the name “PRO” to your application then you should make attempts to implement what Pro’s need.
They put a huge focus on mulitcam in this last release. Wop de do. There were very few multicam avid back in the day. I know that mulitcam is a huge request for users (mostly because of how reality tv is going probably) but I ahve to say that after waiting a full year for FCP 5.0 with no major updates or fixes, it fell short. AND they managed to break what was temporarily fixed in media manager (maybe QT 7 had something to do with this)
I would say that media managment needs to be taken to the next level with FCP and while we are at it can they fix the crashing problem with large project sizes. I can remember having huge projects and up to 100000 MOB files on quadra 900’s with very ffew app crashes.
My two number ones would be media management and app stability. I’d love to see a more back to basics approach with the next release. Don’t give me more software, give me solid software. I do love this application and I want to see it get better (better hanling of tc etc)
Maybe we should start a feature request page or encourage people to send FCP feedback with MM and stability requests.
Let’s GO!!!!!
David
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All of the keys will respond better if they are captured uncompressed. I am not sure about hte DVCPRO HD version of the Nitris codec but I know that avid has to put their own wrapper on the file in order for it to be seen by the nitris. So this is AVID’s version of the codec. Try the same tests capturing the varicam codec the same way you would HDCAM (via sdi input uncompressed) and I am sure you will see a difference in the results.
As gary said. Stay away from the compressed formats for keying, you will get some blocking.
I agree, shoot it green if you can.
David
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I think this feature is actually smoother in FCP. I used to like source record mode in AVID when editing sequences into each other. Now I open everthing in TAbs and I “copy” paste in to new sequences. Just swithching tabs seems simpler now than going into source record mode.
Nesting is really nice for fast assemblies.
IN avid I would numver my sequences 001, 002, 003 etc and then just drag them over to the record window to do this, that was nice to, because you could restructure scenes just by changes 005 to 007 or vice versa.
Many ways to approach this one.
David