[Herb Sevush]

Jacob –

You said –

“In the dialog, you can change the source mapping of any audio file to make a stereo file recognized as two mono files”

Can these 2 mono files be edited independently of each other.

Herb Sevush
Zebra Productions

[Herb Sevush]

Bob –

I own a 1200A and here’s the real situation, which Panasonic is not even officially aware of, but that those that actually own this deck will atest to.

To use “Edit-to-Tape” to do an assemble edit via HD-SDI in FCP

1)Pre-Black you’re tape with timecode using the 1200A’s TC geerator
2) set the 1200A to HD-SDI input (600-01 on the deck’s menu)
3) in the Edit To Tape window go to the Device Settings Tab
4) under Device Control select Firewire (*)
5) under Capture/Input select the HD codec you’re using

And then you can assemble edit at a specific spot on the tape. You cannot do an insert edit with the 1200A under any circumstances.

(*) a caveat here is that you will find that the standard “Firewire” device control can be off by as much as 1 second. By using trial and error you can make your own customized Firewire device control that is accurate for me to +/- 2 Frames.

Herb Sevush
Zebra Productions

[Herb Sevush]

Steve –

You’ve got it wrong. The “switched” version is meant to be a preview. However if you are parked on the timeline and use the “switch” keys it will chnage the angle of the clip you are parked on. If you want to live cut the show you have to use the “cut” keys.

I don’t quite understand why you would want to switch the show and keep the markers but not actually implement the cuts? It’s so easy to alter the cut points and still see all the original angles after you cut up the timeline it seems like a waste of effort.

Herb Sevush
Zebra Productions

[Herb Sevush]

Walter –

Nobody at Panasonic gets this. It’s obvious they don’t have anyone who’s actually used FCP in a professional environment working with them. I’ve gone thru this numerous times with them at NAB and elsewhere and they JUST DON’T GET IT !!(that’s me screaming in frustration)

Most of them don’t know how FCP “edit to tape” works, and they don’t even realize that you can (plus or minus a bunch of frames) get firewire to initialize an assemble edit. Given that they don’t know what their own equipment CAN already do, nor why FCP users want RS 422 to do the same, they are ill equiped to fix a problem they don’t understand.

As for having to slip the timelines, what I’ve done is created a specific Device Control with an off-set that I’ve determined thru T&E. It’s within 2 frames +/- and what with opening and closing fade-ins & fade-outs, I can get my tapes accepted by PBS.

Not good enough but then what can you expect for $32,000. Of course you could buy the more expensive DVCProHD deck for about 50K and get “real” RS-422 editing control – but wait – that deck doesn’t have firewire in or out – so to actually work with DVCpro and FCP in a professional way I guess Panasonic wants you to buy both decks.

And by the way, with a UVW-1800 I’ve frame accurately cut into and out of tape masters dozens of times.

Herb Sevush
Zebra Productions

[Herb Sevush]

The dynamic scaling, especially if you are dealing with DV, lets you edit most things without having to stop and render. But when dealing with HD almost every effect beyond a basic dissolve requires rendering for final quality. You can’t mix different formats on the same timeline without long slow renders, and the same goes true for color correction and long title sequences (like a credit roll.)

I don’t have clients lurking over my shoulder, so this isn’t a big problem for me. However, if I were working in that type of situation with HD, I would look seriously at either Velocity or Axio.

Herb Sevush
Zebra Productions

[Herb Sevush]

If real time HD is your main concern, then I would think about either the Leitch Velocity or the Matrox Axio/Premiere Pro solution. Those systems are “real” real time, FCP is not. There are many other reasons to buy FCP, but “real time” is not one of them.

Herb Sevush
Zebra Productions

[Herb Sevush]

Yes.

Herb Sevush
Zebra Productions

[Herb Sevush]

Walter –

What do you mean by “true 60P recordings”?

I’m editing with material shot with DVCPro HD 720/P60 and Drop Frame is not an option in FCP.

Herb Sevush
Zebra Productions