Gary Hazen
Forum Replies Created
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I suppose technically the KiPro could be considered a DDR. I was responding to David Shulkin’s post in which he mentioned EVS. I assumed that he needed a product that offered similar functionality. Such as Grass Valley’s Dyno or Newteks 3 Play. The KiPro is a fine product, however it currently doesn’t handle multi-channel record/playback as well as EVS, Dyno, 3play or Mira. It’s simply a matter of choosing the right tool for the job.
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Abekas showed off the new version of their Mira DDR. 8 channels of HD (jpeg 2000) coupled with a DNF controller for under $80k. DDR’s have become much more affordable over the past few years.
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CC Ball Action
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Upprade FCS and have a look at Adobe’s Production Premium bundle. It will give you AE, PS, AI and a bunch of other handy apps for the edit suite.
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The truth is that Kris’ answer is spot on. Field order is dependent on the television standard (NTSC, PAL) and the format (SD, HD). NTSC standard definition is lower field first.
“whenever I digitize anything into Avid I’m almost positive it’s Upper field dominant.” -J.B.
Again, it would depend on your project setting. If you’re capturing from HDCAM into a 1920 x 1080i project the field order will be upper field first (odd). If you’re capturing from a Digibeta into a 720 x 486 29.97 project then the field order will be lower field first (even). How did you come to the conclusion that Avid is upper field first for everything?
In your first post you said:
“…we’ve been pretty good about making sure the various import and export settings are correct”Post your settings (Avid project, Avid export, Avid import, FCP project including field dominance, FCP export) and the users here will have more information to diagnose the problem. Have you checked the files in QT player to verify that they haven’t been converted to progressive?
Also, as Greg said above you should have CRT monitors in your signal chain (minimum one at each edit station). With your work flow an incorrect import or export setting could screw up the entire process and you have no idea where the problem originated. As evidenced by this very thread.
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+1 on the Rimage systems. The disc printing looks great and I think it might take a chisel to scratch the printed disc. This is on an older Everest printer – at NAB last year they showed the newer models that have even higher resolution.
Our Rimage is attached to the network with the project files stored on network attached storage. Oftentimes we get calls for a handful of DVD dupes from a project we did a month or two ago. I can call up the project from my desktop, enter the number of copies I need and the Rimage system handles it from there.
Sure, it’s more expensive than some of the other options. But it’s definately worth having a look at if your DVD runs are getting out of hand.
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The directory structure on the disc is the same regardless of the camera. This means that you can use the PDZ-1 software with any of Sony’s optical disc cameras. The 700 & 800 cameras are simply Sony’s recent additions tho the XDCAM line up
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Are the player and DX box necessary for this?
Nope. You can import the files instead.
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The producer can lay out the sub clips in a time line using the PDZ-1 software. Export an edl, import the edl inot Avid, decompose the SEQ (adding handles) and digitize. This workflow assumes a PDW- HD1500 player and a DX box to digitize. The right workflow for your situation depends on what hardware you have available and what version of MC you’re running.
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“We intentionally utilize discrete CRT monitors and do not want multiplexed monitoring, on flat panels.” – R.L.
CRT production lines are either slowed down or shut down completely. Flat panel production lines are ramping up or at full throttle. It may be time to examine a new strategy.