[David Eells]

Typically the difference between DF and NDF is about :10 per hour (don’t have my calculator handy), so I suppose it would make sense that minus the difference for 24 and 30 it would be more like :03.

So it sounds like the good news is that the runtime according to FCP is correct, but since the tape is NDF it appears longer, but isn’t really.

What remains a little of a mystery is why, when I was using the ETT window to black the first few seconds of the tape, no matter what I typed in the timecode window, FCP would only accept a DF value.

[David Eells]

Hey Sean

Our workflow is similar to yours in that we’re delivering a base layer on a single DVCProHD tape, but the finishing house is going to bring in everything else via teranex, so that headache is theirs.

The problem is in the way they are doing the color correcting. They are going to ingest the base layer into their Avid, and color correct cut to cut. What they have told us is that when we output our base layer, some of the frames straddle the timecode location of the cut – that is, either there is a field order issue or a cadence issue. I’m thinking it’s cadence, and it’s the nature of the beast, since there is a 3:2 pulldown, and we’re outputting a “24p” timeline to a 29.97 medium.

Another problem is that the show seems to pick up about 3 seconds per hour. This is also an issue.

[David Eells]

Hey Sean

Our workflow is similar to yours in that we’re delivering a base layer on a single DVCProHD tape, but the finishing house is going to bring in everything else via teranex, so that headache is theirs.

The problem is in the way they are doing the color correcting. They are going to ingest the base layer into their Avid, and color correct cut to cut. What they have told us is that when we output our base layer, some of the frames straddle the timecode location of the cut – that is, either there is a filed order issue or a cadence issue. I’m thinking it’s cadence, and it’s the nature of the beast, since there is a 3:2 pulldown, and we’re outputting a “24p” timeline to a 29.97 medium.

Another problem is that the show seems to pick up about 3 seconds per hour. This is also an issue.

[David Eells]

Hey Jeremy

I got it to work, but the run time is about :06 longer than the FCP sequence over a two-hour movie. As it’s for broadcast, this might be an issue….

[David Eells]

OK, so now here I am trying to output a 720p24 DVCProHD sequence to an AJ-1400 deck.

I go to Edit to Tape and black the tape using AJA KONA3: 720p 23.98 DVCProHD. I can now MARK the tape as it rolls, but I cannot SET an in point – for example, if I type 59:40:00 for the inpoint, 47:52:00 appears in the window. Either way, when I drag the sequence to the ETT window, I eventually get a General Error (88).

What am I missing?

[David Eells]

[Shane Ross] ”
Your techs don’t know FCP very well then:

That’s correct. They know Avid.

[Shane Ross] ”
Why do they want an output instead of the camera masters?”

They think they will save money by not having the finishing house recapture the HD footage, since we’ve already captured it. I have explained my views on this to them.

Still as far as the field order/cadence issues, I’m hoping that if I can get ETT to work, that will resolve itself. I haven’t seen that mentioned as a huge issue with DVCProHD….

For the record, it’s an Intel Dual Core running 5.1.4 with a KONA 3. We’ll be outputting through SDI with RS422 control.

More later, no doubt…

[David Eells]

And thanks again for your help!

[David Eells]

Hey Jeremy

If you’re still paying attention to this thread, here’s a link to ‘that other thing’:

https://www.youtube.com/watch?v=UiEP-XSApgY

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[David Eells]

The primary consideration is the highest quality output possible.

Matching timecode is important, but secondary.

They did a play-and-crash output and thought it was ok, but that sounds dicey.

Having two decks is not a likely outcome. Renting a 1400 is more likely. It sounds like the best route for tonight(!) is print to video (instead of edit-to-tape), hang out for two hours while the show conforms, and then hit the record button on the deck.

It sounds like it should work…

[David Eells]

Thanks, Jeremy. Without any kind of error message, it was hard to know what was missing. So it sounds like I can’t do exactly what ‘s been asked. Thye’ve been hitting play on FCP and crash recording, but without the conform process it seems like they’re not going to get a broadcast-ready tape. Maybe a trip to Compressor is called for…