[Edit.one]

Thanks Jerry,

I see the color bars. I want to know are they set at 75% or 100% values. There is no indication in manual. I need to put in front of a program and I want to make sure I place the right ones.

Thank you for the Motion 3 advise. I got full FCS 2 since day 1. I’m used to apply slow motion directly in timeline and was acceptable and now jitters too much.

Thank you
edit.one

[Edit.one]

Have you gone through SMPTE 12M standard ? It’s approved on 1999. In the delivery requirements for HD shows for network the time code should be confirm this standard.
Going through SMPTE journal I’ve found good explanation of drop-frame vs. nondrop-frame timecode and the ways the corrections are made. I want to address my concern that the HD shows delivered to network timecode should be at 29.97 drop-frame confirm 12M standard or is something like an open end based on each show or each network.

Best,
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[Edit.one]

How about to take the Dolby PCM stream from audio studio and without changing it to place in audio tracks of the secuence I mean just matching the start and the end point and lay on tape together with video through SDI out. will that corrupt the ‘bit by bit’ transfer of signal ?
I guess the best advise yet is to let the audio people to do the 5.1 layout or I have to take the challenge if budget will allow.

I’ll reach AJA and If I learn anything I’ll post it.

thank you for the real professional help

edit.one

[Edit.one]

Thank you,

just to be precise you’re saying that if I place on FCP timeline the ‘Dolby 5.1 encoded stream’ (Dolby E mix to channels 3/4 ) it will go through the HD SDI to tape or do I need a special way to put them in HDCAM?.
can I hear them from my audio speakers in case to monitor that they are there or if everything is right?

Best,
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[Edit.one]

I don’t think they’re ready to do that. they always have sent the files to be laid back from FCP. and I’m not sure if the budged will allow to rent the deck for the audio guys too and all those tech/compatibility issues that will come in their department.

I guess it should be an way for that. maybe I’ll need to ask Kona tech support

best,
edit.one

[Edit.one]

Thank you for the help.

I’ll know better on the delivery format later on as well. the surprise was that we were working on 720p all this time expecting to be delivered in the same format DVCPRO HD and in the end the client told us they need a HDCAM master.
just to be more precise I think LHe is a HD card. Am I wrong on this?

also in the next message I added the question number four:

4-also there will be a 5.1 surround sound encoded tracks, I think with Dolby codex, the audio mixer is going to bring those to us. is any special setting to tweak?

Best

[Edit.one]

Thank you guys. It’s a great help on the right time.