Frank Nolan
Forum Replies Created
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>You will have to render A LOT if you go uncompressed.
This would depend on the sequence settings. If he is capturing uncompressed and using an uncompressed sequence setting then there is no rendering. If you cature DV into a DV sequence there is no rendering required. Rendering is only required when the clips dont match the sequence settings, or you add graphics, titles etc.
JB, by capturing your DV material through the AJA as uncompressed 10 bit you are not “uncompressing” the video that was originally shot and compressed in the camera. If you shoot DV, that’s what you have, there is no uncompressing it. All you are really doing is taking up a lot more space on your hard drive and taxing system resources to edit dv footage. As stated, if you are doing graphic intensive work for broadcast then this would be worth the effort but for wedding and training DVD’s you are not really gaing anything. -
This DOES work if you ask it nicely or at least tell it the right command. Instead of going File>export for soundtrack. Go File>SEND TO>Soundtrack Pro multi project. Then when the next window pops up to name the project, UNCHECK the box that says include background video.
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Yeah as we all get older we all have to learn the new lingo. These days every man and his dog with a video camera is out shooting a “Feature Film”.
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David, although technically speaking, handles have been referred to as unused media beyond your edit point, in which case the part of the media within a transition is not really a handle. Page 378 Section 2 of The FCP5 manual refers to this part of the media within a transition as “handles”.
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Ahhh! I think i’ve got a handle on what you’re talking about David. 🙂
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When you had the film transferred to video did you have any sync reference for each take, like a slate? If yes I would sync each take to the audio before cutting up into subclips unless you’re really good at eyeballing sync.
But was the audio playback on the shoot sped up by 0.1%? If not, then you will have a hard time getting anything in your edit to stay in sync unless you now slow the audio track in FCP down by 0.1% because when film is transferred to video it is slowed down by 0.1%.
Of course if your are in pal land then this will not apply. Instead you will have a 4% difference the other way. -
>the only way you will resolve these issues is to do a CLEAN RELOAD of your OS, and then FCP, and then the AJA drivers (NOOOOOO !!!!). You should do an “erase and install”, wiping out the internal hard drive. I know what a pain this is.
That’s a pretty drastic solution without knowing all the facts. My advice would be to first call tech support at AJA (they are very helpful) and give them all the stats of your system, i.e. OS, QT version, etc and make sure you have the correct drivers and firmware for your set up.
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Do you have enough of a handle on each clip to cover the transition?
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Jesse:
This particular suite is located in a Production Facility where multiple broadcast programs are produced. There is at least one engineer attached to the facility and I believe another attached to the show who comes in only on the days when they tape the show.Wow! That is the first time I have heard of a facility producing multiple programs for broadcast that doesn’t have a house sync generator. What the hell are they thinking? Or not?
Horizontal shifts can also be attributed to incorrect timing callibration of the component video signals so if their engineers aren’t smart enough to have a blackburst generator in the faclilty they may not be smart enought to check the callibration of their machines. Tektronics website has a great downloadable booklet called NTSC video Measurements, that would be worthwhile taking a look at and maybe passing it on to their engineers. -
Chris when referring to the multitude of Indy Projects shot on video, please remember to insert the word FEATURE before the word FILM 🙂