Herb Sevush
Forum Replies Created
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David –
Simple math says it should be slowed down .799 (.8 would probably work):
29.97 * .799 = 23.946 (which should be close enough).
Herb Sevush
Zebra Productions -
You should check out the panasonic BT-LH1700W monitor, B&H photo lists it for $2800.00. It take HD SDI or Component in, so you’l need either an AJA or Blackmagic Decklink card.
Also you can pick up a Blackmagic HD-Link for about $700 and use it with a 23″ inch apple cinema display and the dvi out from the G5. That’s the way I went when I set up my system 18 months ago.
Herb Sevush
Zebra Productions -
“Hopefully we’ll be selling our 1200 and picking up the 1400 with RS-422 frame accurate edit to tape.”
I’ve been thinking about this as well, but i’m worried that the resale value of the 1200 is going to really drop with the availability of the 1400. With my recent experiences in the vagaries of HD i’m not really looking to invest in any more tape devices — the future is obviously going to be tapeless, if I can just afford to hang in and hold out till it gets here. I’d love to know what you get for your 1200 once you sell it.
Herb Sevush
Zebra Productions -
You could create a “virtual” quicktime clip which is almost instantaneous and doesn’t take any drive space. Just use the checkbox in the make quicktime dialogue.
Herb Sevush
Zebra Productions -
If you send tapes out to PBS with tone at anything but -20db they will get bounced back. They want peaks at -10db. While this is truly idiotic in terms of quality, it is the way of the world. And yes, -20 notches on the scopes would be very handy.
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Walter –
What I meant is that there is no option to ouput status info to SDI #2 only, as opposed to the video outs where Video 1 could be video and Video 2 could be status info. With SDI, all outputs are identical.
Herb Sevush
Zebra Productions -
Gunleik –
Menu No. 005 allows you to choose which output to send status and menu info to. There is no “second SDI” output, but you can use Video OUT 2 which sends a composite signal out to your monitors, as long as you are not using it as part of a component HI-Def signal. This is the easiest way to go, its menu choice is 005-0001.
Herb Sevush
Zebra Productions -
Brad –
You have to choose the clips that make up each multi-clip manually.
Herb Sevush
Zebra Productions -
Brad –
The solution is to make a separate multiclip every time the cameras stop. In other words there should not be more than one clip from any given angle on a single multiclip. This means you will have many multi-clips to cover an event and this is where making a multi-clip sequence comes in, you just select all the multi-clips and then they will be laid out in order on a timeline and you now have a rough assembly of your show with all 4 angles available in the viewer.
For workflow, you have to break each reel (and angle) down into separate clips at each time code break. When you have captured all clips into a folder, sort by time-code in, this will enable you to easily construct as many multi-clips as you need.
When building the multi-clips use the option to sync by time-code to allow for different start and stop points by different cameras. You will have to manually change the time-code of the “wild” camera to sync with the other 4.
If it weren’t for the need to find sync with this last camera I would estimate that building all the multi-clips for an event (not counting digitizing time) would take less than 30 minutes.
I use multi-cam all the time, and the FCP workflow is excellent.
Herb Sevush
Zebra Productions -
Jan –
Thanks for the offer but fortunately i found a fix. Another editor suggested unmounting all my media drives and then try opening the file. It worked. Once open i saved to a different file name, remounted the drives and voila! I’m back in business. Thanks again for the help.
Herb Sevush
Zebra Productions