[Doug Beal]

Trash your waveform cache
It’ll have to redraw and might take a bit, not an hour of anything like that

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Being those LCD displays you’re talking about have no way to show both fields you could have issues you are not aware of and cannot see. The FSI will show you both fields provided your setting in the AJA control Panel is set to pause on full frame in the Codec tab
That being said the HDlink has a pair of RCA outs for monitoring.
I agree re monitoring unbalanced audio is a pain but remind yourself it’s just monitoring for sync purposes, and it will give a pretty fair simulation of how most folks are going to hear your program.

In my previous post I meant to say No sync issues not “now” big difference that one letter
Good Luck

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Actually if you know the frame count you need to have, STP will shorten or lengthen a track without changing pitch. If it’s an extreme change, quality will suffer but for normal pulldown or frame rate issues it’s fine.
you need to convert TC to Frame count in order to use it and it needs to be in the editing window not the timeline. Make a copy of the track and use that until you achieve the desired result

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

#1 The reason for Advanced (PA) is to introduce a cadence of 2:3:3:2 to enable removing pulldown to get to a 23.98 frame base where F1 and F2 are the same image and thus it appears progressive.
Normal 24P will have a pulldown cadence of 2:3:2:3 and may be REV telecined in Cinema tools. The entire clip will need to be treated.
Without a Monitor designed to be used for video and a device to feed that monitor capable of showing frames (F1andF2) it may be difficult to detect which cadence you are working with. Your computer monitor will only display Field1 thus you can’t see interfield motion.
#2 DVX100A shoots to tape interlaced. It’s NTSC SD on a helical scan head 525i.
#3 Pulldown originally comes from transerring images on Film 24 fps to Video tape 29.97 fps. extra frames needed to be created to have 1 second of film be 1 second of video run time. Video cameras approximate this look when recording to tape so no when you capture from tape you get the whole 29.97 fps with pulldown (google pulldown to see the differences between film and tape style pulldowns)

You may get away with blend fields and smart deinterlace filters applied to the resultant file if you export your timeline. What is your delivery format. That’s what will determine what your copurse of action is to salvage what you have.
This is why a plan is necessary, and it’s based on Delivery requirements
Think of Delivery = Paycheck
what do you have to do to get paid and what do you need to make that happen

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

On the FSI monitors there is an audio output from SDI input de-embedder.
That’s what we monitor in DS, FCP matrox.
On the KONA3 and LH systems we see now sync issues watching the SDI out and monitoring AES D>A audio

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

adapters
https://www.16-9.net/nikon_g/
or google Nikon canon adapter and check out the challenges
see post below re overheating shutting down
nikon > ex3
https://www.mtfservices.com/

depending on the lens check out support (rails etc)

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

SMPTE range is Typically 64-940 Full Range is 0-1023 for RGB content
when converting DPX (from Scratch) to quicktime, Mastering from FCP via Kona3, I usually use full range. I find the color rendition to be exceptionally close to what was seen in Scratch

SMPTE range and Full Range
also discussed here
https://forums.creativecow.net/thread/8/1064025

and here
https://reduser.net/forum/archive/index.php/t-5628.html

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

It may record at 1440 x 1080 but the display is 1920 x 1080
do your sequence settings match the display size?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

If it won’t white balance correctly it’s possible someone got into the white shading menu maybe thinking it was white balance. In that case you need to dig deeper see
https://blog.abelcine.com/2009/08/05/eng-essentials-white-shading-white-offsets/

I don’t remember if Varicam stores lens files but the wrong or a corrupt lens file will produce undesirable results as well

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Import the footage without the remove duplicate frames checkbox checked.
or you may have set the frame rate you shot in the wrong menu on the camera.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN