[Doug Beal]

we have 1 JVC, 3 Flanders and 1 LMD. The Flanders are wonderful highly recommend. The JVC is OK but the viewing angle is about 4 degrees. If you are not straight at it its messed up the LMD sucks in SD it turns dbeta into VHS, in HD via the option card it’s much more clear but would not be considered if we were buying more monitors. It would be FSI first and foremost unless we had the budget and ROI for a cinetal.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I’ve seen this often and it’s real annoying.
My workaround is duplicate the sequence.
Note the TC I need to go in at. delete everything prior to that point in the duplicated sequence.
go to sequence settings set TC to the in point. (I only do this cause I want my timeline to match thw TC on tape for future reference and no confusion)
Drag the the duplicated sequence to the ETT window

It seems this behavior only occurs when I have to hit FedEx and something was amiss during the layout so I need to insert a fix back in. FCP sees the duration in the browser but doesn’t pass it to the 422 controller. restarting does no good. I always make a note to self to investigate the next day but the next day has it’s own set of deadlines and actually resolving the issue doesn’t occur , so I go to my workaround

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Make sure your easy setup corresponds. There is a DVCPro50 NTSC in the Kona presets.
Check your RT settings if you are set to dynamic you are not seeing what’s really going on.
Follow the above suggestions re even numbers etc. the other thing that really affects how the boxes look is speed of movement. remember in SD NTSC field1 is drawn first on the screen top to bottom then field2 is drawn top to bottom so finding the right speed is critical. Motion blur will help
That being said this kind of work is better suited to “Motion” with field rendering turned on. FCP is frame based. DVCPro50 is equivalent to BSP without the dropouts. it’s an 8 bit format

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

oddly enough we have to playback on a toshiba laptop with Vista and windows media player

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

As Michael says, esp scopes. if your gfx card can handle it expand the scopes window larger. blacks are at zero. be aware the center of the vectorscope is centered black as well. between the vector and parade displays you should get close, unless of course there was not enough light then your footage will get noisy or be dark

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

our 42 inch and 52 inch Pana TH series11’s are all set up in “monitor” mode feeding component analog signal to them eyballed to calibrated FSI monitors

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

In an ideal world both the SR deck and your digitizing station should be locked to the same ref.

we use a Gen10 all 6 outs in use. all at 1080 23.98 Psf. The AES out is ref for the Lynx card in Scratch, all others are on the patch bay some normalled, others patchable to break black normal and insert tri level to decks and work stations
works well for us.

Hopefully all your drivers etc are up to date.
since the TC is coming via 422 line, and that info is dependent on the SR being servo locked, and the controlling station is doing the polling, the controlling station should be locked to the same ref as the VTR. whether or not this fixes your problem could involve a lot more digging, particularly the settings on the SR deck but ought to be done anyway

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

embedded is not a problem in FCP I use it all the time
the thing to do is to open the Kona control panel and see which input you are telling the Card to look at for audio.
When you change inputs you need to change the corresponding inputs on the control panel and verify the capture settings in your easy setup to see what FCP is telling the card.
Setting the card to AES will allow AES audio if you are in input passthrough mode and you can monitor this through your FCP system. However the card is taken over by FCP and if FCP is wanting embedded and the signal is not there it won’t record any signal.
Check your Audio/video settings for the easy setup you have selected to see what FCP is telling the card.
If it’s not what you are feeding the FCP system, duplicate the capture setting and edit the items you need to make it work. Then make an easy setup of what works via create easy setup in the summary page of the audio video settings.
in the log and capture window verify your clip settings, particularly audio so that you are not recording more channels than you are playing out of the AVID and that they are set to mono or stereo as required.
Be aware that you will not get timecode in this scenario

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

AVI is a container, the codec contained could be a wide variety of codecs photo jpeg being one of them

quicktime is also a container, holding whatever codec the piece has been encoded to

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I would get with technicolor as to what they would like to see. They will also have recommendations for
workflow.
AJA has a dpx to quicktime converter to download on their site.
after converting to QT you’ll want to throw it in compressor and generate a pro res or similar in order to play it (10 bit RGB is too much data for almost all but high end arrays) xfer to prores maintains color fidelity quite well. I tale dpx’s from our scratch system to QT using AJA’s converter regularily.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN