[Drew]

Hmmm…If 3200 is all you need why not force the other two with presets?

Have your White, Matrix, and Gamma settings changed between the cameras? I would suggest renting or borrowing a DSC Labs ChromDumonde chart and a vector scope to help you truly know what true black and true white are.

Check you knee levels as well…I turn mine off as it’s just annoying to me and the way I light.

Good Luck…

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

Thanks for the advice. I figured as much would be lost with the HDCAM, but the lack of unity between the three systems is driving me nuts. They’re not interested in going to all HDCAM due to cost, additionally, P2 products do not have TC in, save for the full body cameras (which again is a cost issue).

In the past I used Adrienne Electronics to force sync TC into FCP for live capture, do the EX3’s allow TC to travel down the HDSDI?

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

You could certainly push it through. I believe you’d want to timeline to reflect your footage and set your card to output 1080i50.

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

Make a new sequence with the settings you would like to have on tape. Drag your clips to said sequence and render. Should write to tape post render.

Or you could always batch export the clips at your preferred settings. Then drag them to a blank sequence and allow FCP to match up the settings accordingly.

Either way it is important that you make sure to change your frame size from 960 to 1080.

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

Do you know where I could find it? I have the PBS Redbook TOS and it only has a small appendix regarding HD/Digital Signals. I am well within spec there, but not sure if there is more video signal information available. I will have to dig up my notes, but I’m 99% certain that I was told there are no “true” standards for HD at Varicamp.

I truly appreciate all your help. I’ll get to the bottom of this one day. I simply can not go into a meeting to explain why the programming looks “so” bad on the OWNERS/President’s TV and say “just because.”

Wish me luck…

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

I believe AE will do it as well.

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

Thanks for the help guys. HD has no “broadcast” standards like SD correct. If I know the footage is going to be downconverted should shoot and post for SD (7.5 IRE)?

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

Understood. The source we watch from is Dish Network, who according to the Network, has the absolute worst picture available. Seems their bitstream is just garbage. I am taking flak as the shooter for the way the images appear in SD. Praised for my HD work, slammed for the SD version. I’m just wondering if I cut out the middle man and send them the SD alone.

Mal: If anyone gets nosy, just, you know… shoot ’em.

Zoe: Shoot ’em?

Mal: Politely

[Drew]

I have an 8 core, running latest OSX, QT, and FCP. Suddenly compression is taking a lifetime, and in many cases freezing completely. I too had a 16 min clip that took over 7 hours and that’s on Fast Quality. This was a Self Contained File outside of FCP. I took the same clip into DVD SP and it compressed it in 10 mins. It did a 45 min sequence in 30 mins.

Is there any fix for this in sight? Normally I don’t update anything for months, but this seduced me now my work is made of stone…

[Drew]

I would highly suggest getting a hardware controlled raid over a software one.

BUT more importantly I would highly suggest NOT buying from DAT OPTIC…bad experience there.