[Erik Hansen]

At that transfer session they also made a simo dub to DV with 29.97 timecode window. Shouldn’t the timecode window match the 23.98 orginals?

– It depends on what was asked for by the client who setup the transfer.

Now we have to conform to an offline with no reference to the origninal 23.98 timecode.

– Ummm… Didn’t you say that there was a timecode burn-in? What do mean no reference to the 23.98 timecode? At the most it’s only 6 frames off. It’s math, if you don’t know. The magic number is “.8” Did you not get an EDL? or a tape? or a quicktime?

Even worse, our client is upset because we wasted a day trying to capture the HDCAM footage at 29.97.

– I would be upset as well. Why would you even try this?

The transfer house claims it is their standard practice to a simo dub to DV with the 29.97 timecode window. Anyone ever see this before?

– Yes. It happens every day.

[Erik Hansen]

Not sure if it’s option, but if you can have your client install TCPMP and the AAC codec (seperate install). You can just deliver .mp4 files.

As of late I’m using iSquint to convert quicktimes (to MPEG-4) for my Palm Zire72.

– Erik

[Erik Hansen]

Just check to make sure that you are using the Panasonic RS-422 device control settings. Like any deck you should also calibrate it to make sure that you are getting accurate pulls & layoffs. I use a D5 almost daily at work.

Best,
– Erik

[Erik Hansen]

I’ve just glanced through your posts, from the last couple of weeks… I haven’t noticed where you’ve put in your export settings. Please post them.

– Erik

[Erik Hansen]

Umm… If you are delivering and NTSC master… YOU NEED TO CONVERT THE PAL FOOTAGE TO NTSC.

It makes no sense to convert the NTSC to PAL, and then convert again to NTSC. Yeah, you can do it, but it’s going to look bad.

Again you’ve said that you are delivering NTSC DVD, and then later you say “But the framerate still remains an issue and I think has to be 25 fps as I can’t add frames to the PAL footage.” I’ll let you soak that one in.

Personally, you need to do the standards conversion before dealing with how they “look” – ie. widescreen.

– Erik

[Erik Hansen]

I haven’t major comparisons between the 2, as I used to work with a SD2000 and now work with several Digital Rapids boxes (for WM9 encoding, not sure which hardware – must be the 1500 or 2500 as it’s SDI SD). But I have to say that for my limited MPEG2 testing I have not been impressed at all by the Digital Rapids MPEG2 encoding. The Stream software uses the Mainconcept MPEG2 encoder, and I can’t recall all the settings tested. The results that I got weren’t horrible, just not as good as I hoped. It was realtime, though. There’s supposedly a newer version of the software as well, in another box in my facility but haven’t seen the results.

I much prefer the results I used to get with the SD2000, even though I was using an older version of the software and one of the first generation hardware. It did a great job, but MUCH more expensive.

Might want to check the Cinemacraft products as well…

Best,
– Erik

[Erik Hansen]

I’ve seen the mention of Good Eats production in HD throughout Walter’s posts, but the question remains… How do I see Good Eats in HD? Is there a Food Network HD broadcast?

Also, the production quality of Good Eats has really, really advanced over the years. Great job Marion, et al.

Best,
– Erik

[Erik Hansen]

Bob,

This one is listed as Linux compatible – <.” target=”_blank”>https://www.usbfirewire.com/Parts/rr-ser-cardbus.html>. Might be a good start, plus it’s only $33.

Best,
– Erik

[Erik Hansen]

The designer in question is Paula Scher of Pentagram. I had the pleasure of hearing her speak several years ago, truly inspiring. I seem to remember her telling the same story, but can’t say for sure.