Dylan Reeve
Forum Replies Created
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Pretty sure all the RS422 connectors on machines are female (exception being on things like the DVW500 that has an additional ‘out’ connector).
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Oh what the heck… I’m not quite done with it.
It’s not just laptops. It is, ‘computers, disks, hard drives, and other
electronic or digital storage devices’ which would include you iPod, and I suspect would include your video tapes and the like as well.And it’s not just terrorism, it can be executed as a random search looking for evidence related to ‘terrorism, narcotics smuggling, and other national security matters; alien admissibility; contraband including child pornography, monetary instruments, and information in violation of copyright or trademark laws; and evidence of embargo violations or other import or export control laws’
Been in Mexico shooting a story about families of illegal immigrants? That’d make you a prime target.
In general – it’s just the power for random searches. There is absolutely no requirement at all for reasonable suspicion. They can keep the item as long as required to conduct a search, on-site or off-site, with the assistance of other Federal agencies if necessary for things like translation and decryption.
Coming back from Iraq? Got FCP on your computer? You’ve broken export-control laws by taking it there in the first place (I’ve wondered for a while how news networks get away with that).
Search Policy
A Computerworld article -
There is a video tutorial on the Avid Community site (I don’t think I can link directly from here) check that tutorial.
I can’t test at the moment, but I believe my AAF imports were coming through with correct metadata.
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Most modern TV and video displays are capable of both NTSC and PAL. That should not be an issue.
If this is a video that will only be for use in Milan and you have to rent a video player locally, then chances are it will be PAL, but NTSC might be available if you look. Most DVD players in PAL regions are able to play NTSC DVDs either with a PAL conversion on the fly, or as an NTSC signal (usually menu-selectable).
If DVD is the delivery format, then you’ll probably be okay. Otherwise the capabilities of the deck at the other end are going to be an issue that you’ll need to investigate.
For what it’s worth many European-model DV decks are NTSC/PAL switchable, and the very-common Sony J3/J30 Digi/SP player is also able to play both NTSC and PAL.
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My approach to this is slightly different as I’ve come at it from Avid generally. I’ve not used DV in FCP since 2002 or something (when it was actually pretty iffy I reckon).
If capturing from DV and laying back to DV it’s been my experience that staying DV/Firewire for ingest and output is the best. For straight cuts only, up to 8 generations that I’ve tested there was absolutely no degradation.
The problem with capturing baseband (especially analogue component) is that it risks making minor spatial shifts in the footage, which if going back to DV means that DCT blocks will no-longer align which causes massive degradation.
I have also compared video captured into Avid at 1:1 (uncompressed) both via SDI from DSR-1800 and Firewire. There was no visual difference and on a very very minor technical difference.
I am not as familiar with FCP’s inner workings, so would defer to Gary on that one, but in essence the video from the SDI source isn’t any better, it still has been through DV compression and suffers all the resulting issues, however depending on the software’s methodology for DV to Baseband conversion that aspect of the capture or conversion from DV to Uncompressed may be less than ideal.
I would expect, as an online editor, that if I had DV in a time and was rending to a higher quality format that my result renders would be as good as they could be. Any potential gains from a conversion to a higher quality earlier in the chain, I would assume, are going to offer very minimal, if any, improvement in overall results.
Perhaps in a case like this the best thing to do is test? Process only a small selection of shots and see if there is an appreciable difference that would make the extra effort worthwhile.
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I believe you should export with RGB levels and import the same. Exporting 601 levels will mean the RGB values are restricted to between 16 and 235.
When importing, if you select RGB the levels are compressed to fit within 16 and 235 (so 0 moves up to 16, and 255 down to 235). If you select 601 levels then the RGB levels of the imported file will remain unchanged (assuming that the black level is sitting at 16 already, and white at 235).
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Contact Marianna at Avid, or warranty@avid.com they will be able to tell you if the 2.8 to 3.0 upgrade is still available, and how, for those who upgraded to Media Composer before 3.0
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I’m not 100% on this in FCP, but in Avid I’d capture DV as DV25 via Firewire. I’d set the rendering options to create 1:1 (Uncompressed) renders.
In FCP the equivalent would be, I guess, having an Uncompressed (or ProRes perhaps) timeline.
I guess there’s no harm in recapturing as Uncompressed with SDI if you can, but it might not be necessary.
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[Devin Crane] “obviously Walter if I were you I wouldn’t be taking my laptop out of the country if your working with Al Jezeera. They may be open minded and easy to work with, but they’re also a large Propaganda machine against our country.”
When Al Jazeera decided to setup an english news network, the employed a former TVNZ news producer to run it. As a result lots of NZ editors ended up working for AJ. I’ve not heard a single bad thing about them as an employer or news organisation from anyone I’ve spoken too (a handful or so).
We don’t have full coverage here, but it’s carried on one of the ‘regional’ channels in downtime, so 8 hours a day or so in wee hours. The stuff I’ve seen feels a lot like BBC news to me.
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DV50 is visually comparable to Digital Betacam.
And it exists as an actual tape format, which can’t be said for Uncompressed 8bit.