Dennis Lisonbee
Forum Replies Created
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The G5’s drop frames from good clips both on the Native Drive as well as Firewire Drives. No on e has tried to capture yet. I’m not sure why a G4 iMac works fine but a brand new G5 iMac does not work with FCP. In fact my PowerBook works better.
Of course if the problem is not fixed, Apple is going to lose a client. The Dean of the college and the IT team have “Bill Gates is God” stamped on their foreheads and they have been looking for ways of dumping Apple.
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Yes, the master is sent to a Closed Caption House. Since my masters are digital I take them to a house that can do Digibeta. Most Closed Caption Houses want a Beta master. The problem with that is the generation loss.
I use Caption Max. They have an office in Los Angeles. There are other houses that do this work.
Dennis
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What format?
Dennis Lisonbee
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Yes, I’ve noticed the same thing. FCP/DVCPRO HD Native is a very powerful combo at a very attractive price.
However, when rendering a Boris 3D roll I’m getting big red groups of block pixels behind the letters. Very strange. I have not had the time to troubleshoot this in depth.
Dennis Lisonbee.
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I have found that the problem with graphics takes place when scaling them in FCP 5. By going into Photoshop for scaling images, the text is clean in FCP. I’m still not sure what is causing the other probelms in this thread.
Dennis Lisonbee
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Yes, this is in fact a MAJOR PROBLEM with FCP. I have not noticed it with HD but with DVCPRO 25 it makez Final Cut Pro 5 unusable. I have a 26 minute project I just did as a favor for a friend. I took his Powerpoint Presentation, imported it into KEYNOTE, added drop shadows to the fonts and so forth and exported all the frames as .png files. I imported them into FCP, cut everything to a narration track and output ot a DVD. The DVD has the problem and the print to video has a problem. I have a very expensive SONY HR monitor. It look horrible on that. It is some type of a field problem where FCP is only playing out one field. Thus all the jaggies. I suggest we all get with Apple on this. Unless we are all doing something wrong, THIS IS A MAJOR PROBLEM!! I’m posting his on the FCP list on the APPLE site and I invite everyone to post there.
Dennis Lisonbee
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What does it look like when you print it to tape?
Dennis Lisonbee
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Something to think about if you are color correcting DVCPRO HD native footage with FCP 4.5! The Final Cut Pro team took the flesh tone target off the vectorscope with FCP 4.5 HD! They waited a year to fix it. (Guess no one but me cared.) FCP 5.0 has the target back. Thanks Apple!
Dennis Lisonb ee
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[Rodrigo Lizana] “You worked it on a 1080p23.98, 720p59.94 or 720p23.98 FCP secuence ?”
The first show was offlined with Offline Photo JPEG at 29.97 and onlined for the first color correction pass using 720 by 480 SDI at 29.97. That version was sent to tape for the SDI broadcast and MPEG compression. The SDI color correction version was then onlined in HD at 1080i 29.97 with the KONA HD card. That version was laid to DVCPRO HD. The DVCPRO Master was then transferred to HDCAM for PBS. The surround was not added because in 2003 surround sound and HD was a black art. However the DVD version of the show had Surround Sound.
The second show was offlined @ 23.97 fps and then onlined using DVCPRO HD 720 24p Native Codec with the Panasonic 1200A deck. It was then sent back to the 1200A deck. The master tape was then upconverted to D5 1080i. The Surround Tracks were then laid to the D5 and the tape sent to PBS.
Hope this answers your questions.
Dennis Lisonbee
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The foundation of what you are doing is sometimes called DVCPRO 100 or DVCPRO HD or DVCPRO HD Native. The beauty of this is that when you shot on the Varicam, it flagged each of the 24 frames. You actually were recording at 60 frames per second, but only need the 24 frames per second to edit and lay back to tape. The 36 extra frames are just plain not needed when getting the 24p “film” look. As a result when you capture using the 1200A deck via firewire, Final Cut Pro only captures the 24 frames. Since you are looking for a “film” look, which is 24 frames per second, Final Cut Pro will only capture those 24 flagged frames. The next great thing about this is that you are actually just shifting the 1’s and 0’s (digital information) over to the hard drive on your computer. Final Cut Pro is then editing the actual digital information from the tape. Thus there is no loss at all in quality. What you see is actually what you recorded. Thus at 24 frames per second, it will only take around 20 gigs per hour of footage. Yes the footage was compressed in the camera when it was put on tape, and the compressed digital information was transferred to your hard drive. What Final Cut Pro does is uncompress it in real time.
The 60 frame per second stuff will have to be rendered to 24p when you put it in the timeline. You could convert it to 24p so that it plays real time.
I have have done two major PBS High Def shows. One I captured using a KONA card. It was Uncompressed in the deck and captured in 8 bit HD Uncompressed. One hour was around 480 or so gigs of space. The second show was done with the 1200A. I never used my HD board other than monitoring purposes. Both shows were stunning.
Hope this helps.
Dennis Lisonbee
If you want to see the 24p camera original compressed to H264 (You will need Quicktime 7) here is a link: https://homepage.mac.com/denbee/Menu7.html