Donald Berube
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Send it in to an Authorized Canon Repair Center.
– Don
https://noisybrain.com
https://www.bosfcpug.org -
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FYI, whenever I have had excessive timecode break problems when trying to capture Canon footage I have always had success by alternatively digitizing my footage into a FireStore and then importing the clips from the FireStore into FCP.
It’s a solution to consider when all else fails.
– Don
https://noisybrain.com
https://www.bosfcpug.org -
Starting from scratch…
Set up FCP using an Easy Setup of “HDV – 1080P24”
Make sure that Device Control is set to “HDV Firewire Basic NDF”
Capture Preset set to “HDV”.Let me know if
a) you have successfully been able to capture your footage.
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b) if you still need assistance in capturing your 24F footage.Let me know,
– Don
https://noisybrain.com
https://www.bosfcpug.org -
Technically, the Canon HDV Digital Master tapes are better in that they are made from finer grade tapestock with the least propensity for dropouts. I personally often use the Panny Master DV tapes when shooting HDV and have not had any problems with dropouts. I would consider the Panny Master DV tapes as a minimum acceptable standard for recording HDV – however I have also had success using Sony Excellence tapes too… but I have since switched to using primarily the Panny Masters… If it’s a mission critical recording that you need to make, use at least the Panny Master tapes. You’ll have no problems if you use the higher grade HDV Digital Master tapes from Canon or Sony… Remember to clean the heads of your camcorder with a dry head cleaning tape when switching brands of tape – things can get a little sticky when mixing different oxides together.
– Don
https://noisybrain.com
https://www.bosfcpug.org -
Try upgrading your FCP to at least version 5.1.4
FCP version 5.1.4 fully supports Canon’s HDV camocrders.
I have never seen this issue happen before – and I have captured a fair amount of material from both the XL H1 and the XH series camcorders.– Don
https://noisybrain.com
https://www.bosfcpug.org -
Try upgrading your FCP to at least version 5.1.4
FCP version 5.1.4 fully supports Canon’s HDV camocrders.
I have never seen this issue happen before – and I have captured a fair amount of material from both the XL H1 and the XH series camcorders.– Don
https://noisybrain.com
https://www.bosfcpug.org -
Any HDV camcorder or deck that records and plays HDV 1080i60 will most likely play back HDV 1080i60 footage shot with a Canon camcorder. In my tests with the Sony FX1 and Z1U it worked fine. I have not tried this with every other model of HDV 1080i60 camcorder/ deck out there.
– Don
https://noisybrain.com
https://www.bosfcpug.org -
Try using a higher grade of tape when recording HDV.
– Don
https://noisybrain.com
https://www.bosfcpug.org -
The SDI terminal of the XL H1 is extremely beneficial in a live capture situation such as in the studio or in the field (live multicam switched video production, live remote capture, etc) as it allows you to bypass the HDV compression that goes to tape. This allows you to capture or monitor the live camera output as a raw, uncompressed signal, provided that you have the proper capture/ monitoring system. This way, you can choose whichever codec you desire to record your live footage with (again, provided that you have the proper recording system). Once you have recorded footage to HDV tape, however, that footage is now compressed regardless if you ingest it from the FireWire output (HDV over FireWire) or if you ingest it from the SDI terminal of the XL H1.
You have some options, following are two that come to mind:
a) Use FCP 6 with one of the latest Intel Macs. Ingest as HDV over FireWire. Create your sequences using the ProRes 422 codec. Drop your HDV source files into your ProRes 422 sequence and start cutting. Now you are no longer dealing with the constraints of the HDV codec as an editing codec. You’ll be I-frames based, with a bigger color space and a larger data rate – less destructive when you are applying filters and effects and such… You’ll then be able to use the Kona to monitor your edit on an external NTSC HD monitor in real time.b) If you prefer to ingest into KONA via SDI, do it using a Convergent Design HD-Connect SI.
https://www.convergent-design.com/CD_Products_HDConnectSI.htm
The HD-Connect SI allows you to input the HDV FireWire signal from any HDV camcorder and it will output that signal as SDI with embedded audio plus output TimeCode and deck control via RS422. This will allow you to ingest video, audio and TC in one pass using your KONA. Then you can set FCP to ingest your footage using an I-frame based codec, such as DVCPRO HD or even better 8-bit Uncompressed HD (provided that you have the proper drive storage). You’ll then be able to use the Kona to monitor your edit on an external NTSC HD monitor in real time.I still prefer ProRes 422.
Hope this info helps,
– Don
DONALD BERUBE
https://noisybrain.com
https://www.bosfcpug.org