[David Battistella]

If you are goin gout to Bets SP it might be a 2field/4field thing. I leave my Beta set to 2 field rather than let it decide to choose between the 2nd or 4th field on insert edits.

Also, double check your playback offset in FCP.

David

[David Battistella]

This has always been a bit of an FCP problem as you can not feed it a direct code signal through a card (which would be a real PRO feature). Adobe Premiere has this feature I believe, for this type of application.

here is an idea.

If you had a TC generator on set and fed the signal to the camera and to FCP via a serial device you amy actually be able to fake FCP into thinking that the code is coming from a deck.

OR

Split take the TC out of the side of the camera and somehow convert it from BNC to Serial, I am sure there is a schematic for this somewhere. Just be carefull what code you are using (rec run or free run) and if you are using the free run code you will need more roll-up (speed) for each shot because those camera tapes would be a drag to recapture.

The good news is FCP 5.0’s capture now feature is much more robust now (it records quicker) so you may get away with recording a REC RUN just ater the camera starts rolling.

It would be nice if QT and or FCP had some real TC handling, in Premiere, you could shoot a timecode right from the timeline, somethiing you could never do in FCP as it only sends the first frame of code when laying back to tape.

David

[David Battistella]

PC,
Read this thread below,

Steve Swersky found this out and reported it to AJA a few weeks ago.

This is the thread

https://www.creativecow.net/forum/read_post.php?postid=111814958284491&forumid=98

you will have good sync if you load one clip at a time as AJA suggests.

David

[David Battistella]

Another opion.

Shoot those sections at 60i and 24P. You can always put a pulldown on those few shots that have the monitors in them. I have dones this for close-ups if I can’t quite get rid of the flicker.

David

[David Battistella]

Rob,

You can also consider doing it with Natress filters. He provides a set of filters that actally re-interpolates the DV footage to remove a lot of the edge pixelation that DV keys are so famous for.

http://www.natress.com

You might want to look at some of his test results on his page for exactly this type of thing. DV25 never gets any better when it is captured uncompressed, but this does prevent the further degradation that renders can cause. You also go from 3.8 MB/sec for your file sizes to almost eight times that size (27MB/sec uncompressed 10 bit). Your workflow is affected because you will need much faster drives (RAID FOR SURE) and a card to get that quality of video into the machine. Graeme’s products will allow you to maintain a DV workflow and his filters work with any compression level.

Graeme spoke at our FCP user group in Toronto recently and works tirelessly at creating filter sets and squeezing the most out of DV video.

[David Battistella]

Another 10 bit capture card option is the Aurora Pipe.

http://www.auroravideosys.com

I wrote a review of the Pipe on the cow here

https://www.creativecow.net/show.php?forumid=185&page=/articles/battistella_david/pipestudio_rev/index.html

[David Battistella]

Marco,

I’ve always thought you were a proponent of the processing being done on te CPU. (remember the ICE cards?) Qrez is a great idea and if it was extended forward to the other codecs it could be very sweet. If AJA and Apple are working this out that would only benefit all of us.

I do not want to sound cynical but it does sort of seem like if apple could put everyting on Firewire 800 they would. Maybe on future Inel Macs, the raw processing power will render a perfectly good Kona 2’s hardware accelleration onto the back burner.

That’s sort of more of what I am saying. Maybe we haven’t seen Qrez, because of these types of scenarios.

David

[David Battistella]

I have to agree with Graeme here. M-jpeg was a fantastic, customizable , nice looking solution. DV is a great offline codec and at a compact file size of 3.8MB/sec it does the tricka s well. It would be nice to see a draft DV resolution that would be about half the data rate of the existing DV so we could squeeze about out about an hour of footage onto 5 gig for large/multitape offline projects,

BUT

Drives are so inexpensive now, DV is a great resolution to work in as an offline. I can see why AJA would not be chasing after QRez, when nobody know what apple is going to do next. with DVCPRO100 as an offline HD resolution it is a mere 14mb/sec IN HD. What codec is going to top that! that is almost half the file size of 10-bit uncompressed SD.

AND

Would Apple back up Qrez in a future release of FCP? It’s a tough go. If I was AJA I am not sure I would waste many man hours developing Qrez because Apple can be so flakey about this stuff. It seems that Apple is looking at SONY and PANASONIC to develop “industry standards” and that is the thing they implement. So why bother with what AJA is thinking of doing with Qrez. It is a tough slog for third party FCP products right now as Apple is putting more and more under the hood in FCP to drive machine sales.

David

[David Battistella]

thanks Gerry,

The files do look perfect when rendered and I should point out that the scaling in general is much better quality in this release of FCP. I guess what just feels odd is that it is not “really RT” because all of these stills have to be re-rendered. It would be great if the image snapped back to full quality when parked on a frame (adaptive resolution like after effects) so that you could pick out the specifics of a part of an image.

I guess there is jsut a bit more work to do.
Thanks for the reply, we’ll render everything inthe meantime, which is no big deal.

David

[David Battistella]

THe way to do it is to use a screenshot.

Apple Key, shift 4 will bring up the target and you can cutout the part of the screen you want to print. This places a PDF on your desktop.

David

no print bin feature in FCP.

You may export a batch list, open in Excel and print from there as well.