David Battistella
Forum Replies Created
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Ahhhhhhhh AVID edia management:)
When I think of the days when you could select a sequence, put it in a new bin, strip away the audio, select decompose and recapture the darn thing at what ever AVR resolution was highest at the time, I can only sit back and smile :).
FCP has always had cumbersome language in teh media manager and it you can not create a sequence that does not contain audio.
THis is still the weakest point of FCP by far. not even close to the quality of media tracking an AVID has.
David
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Gerry,
I believe this feature was introduced in FCP to compensate for he lag in AV between the canvas and the output monitor. With other AJA products like the I/o this ca be set to as much as 7 frames to compensate for the differenc of what you are seeing in teh canvas and the broadcast monitor.
David
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Thanks Jeff,
That’s a very impressive list. It would be great if you had a “varicam in production” page on the panasonic website so that we could point prospective clients there. It would also be helpful in keeping up with all of the great varicam production going on.
David
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Thanks gary. Maybe it is an issue of how FCP and Kona 2 driver have to interface with the OS and Core Audio.
david
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the only analog out of the Kbox is the two rca connectors (red and white). That’s it! Everything else is digital.
David
Many people use a flying cow box by M-Audio to convert the digital Audio to analog or they use a digital mixer.
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Import the movie into DVDSP and then tell dvdsp that the media is 16×9. When you create the DVD it will play back in the correct aspect ratio.
d
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Although glass is recomended to do the anamorphic, the squeeze mode sounds like what you might want to be using in this film. The 100A uses a digital version of anamorphic to squeeze the image to tape. It gets reorded squeezed as it would if you used an anamorphic adaptor.
If you want to shoot 16×9 it should be because you are planning to finish the film in 16×9. This means that all of the 4:3 images need to be blown up to fit into the 16×9 frame, so you are going to take a quality hit for the rest of your film. The 16×9 you shoot now will look great but you will loose qaulity fitting the existing 4×3 film into a 16×9 frame.
We are not just talking about chopping off the top and bottom of a 4×3 image. If that is what you are doing then do not bother shooting in 16×9(squeeze) mode because it will not be worth the headaches. Stay with what you have been doing. especially mid project. By the time you are versioning you will understand why. It can be a huge pain to mix footage.
David
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Thanks for your response Jan,
It’s good to see you gues in the forums.
David
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IMHO. The best, cleanest most realist looking 24P available for FCP is nattress effects.
David
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Nate,
I would also report this to Apple FCP team. My guess is that they never even ran tests with this deck with FCP 5 and that this is more than likely an FCP issue. If you are routing the embedded audio it should “theoretically” work, but there is a chance that support has not yet been implemented and tested for this deck.
David