Hhhhdfx
Forum Replies Created
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Thanks for all the tips, everyone. I guess I’ll try to get as far as I can on my system before I inevitably have to move it to another system that can really handle 2k, and then I’ll save the color correction for the DI lab.
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I do get your meaning, but our purpose was to have a tape backup that we could recapture from if the drive went down, so the TC does have to match.
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Ouch. So then…. maybe i will just print to video, and in final cut Modify>starting timecode to match what ends up on tape, to have a TC matching set of file and backup tape? Does that seem absurd?
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They look about as good as they’re going to look. I also have used the KONA 2 card to do similar things and it looks great although you have slightly more control with the Tera Nex. I will share this experience though- with a UFC upconverter. Our doc had many formats all heading for our uncompressed HD online. Our target was 23.98 4:2:2 uncompressed, and one of the DV shots had ben filmed with a DVX100 in bright light, and the DP had evidently used the ‘skinny shutter’ that can end up giving the footage that staccatto, ‘Saving Private Ryan’ look. In our first pass, taking footage that already looked like that and deinterlacing, upconverting, and changing the frame rate to 23.98- the look became very pronounced so we changed the setting on the UFC to be less film like (if I remember corerectly there are similar settings on the Tera Nex, you choose something like either ‘sports’ or ‘cinema’)and the footage looked much smoother and totally acceptable… until it was encoded for DVD. Somehow imperceptibly those shots were different and out of the 90 minute feature those shots now had venetian blinds over them, which was a simple fix- deinterlacing them again, although they were already deinterlaced.
So it may be a good idea if you haven’t done a lot of this to test the shots all the way through the finished format.
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I am just entirely curious about this. I have only done one negative cutlist with cinema tools, and went through some vaguely similar stuff (albeit with less experience backing me up). I checked every cut in the window burn, cut with handles, conformed the retransferred HD footage, so as a relatively new post person, I have to ask, is there any good reason to EVER use 29.97 if its not being onlined and finished that way?
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This might be obvious, but one thing that helps, esp. in HD is to maintain awareness of the space your render files are taking up. Just go Tools>Render Manager and take a look. Sometimes old ones get wierd corruption too. Their naming convention makes zero sense if you actually open the folders but you can play them.
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OK, the thing that makes this bizaare is that when you black and code a tape from final cut, it doesn’t let you set the start timecode if you are using firewire. So, you can black and code a tape with RS422, but then you cannot do an insert or assemble edit.
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I am sure he is referring to the Panasonic 1200A deck. I have done many edit to tape operations with the Kona 2 card and other HD or SD decks which we bring in from time to time. The Panasonic 1200A deck has a few quirks like that, but it is a pretty compact, inexpensive and reliable deck. This particular quirk is still baffling.
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Wow… that’s bizzarre.