[Icenitv]

Thanks for the advice Tony.

There are only a couple of UK post houses that offer panasonic decks – and have experience in onlining 60fps footage from the varicam. This project is on a very tight turnaround so I need to be sure that the post goes smoothly.

There is also the issue of frc hire and having to dub HD to HD before dubbing to SD for the offline – because of the slo mo tc.

I don’t want to spark off the vari vs cinealta – I want to offer my client the best value and make sure I have accounted for anything that may be different from an SD workflow in post.

iceni | UK corporate video production and DVD design |

https://www.iceni-tv.co.uk

[Icenitv]

This is not an adrenaline does this, mojo does that rant – we use both.

I am just a bit disappointed that, when cutting and doing a simple grade the mojo outputs to calibrated monitor lovely uncompressed pictures. Then when you play out to tape, what you have on the timeline is not what comes out of the mojo box. The blacks have changed to dark greens. I can’t see anyway of using the internal scopes or waveform monitors to stop this, because it is only happening on digital cut.

Tweaking the edit deck is not an option either – what if this is an intermittent fault – what happens when we playout from a different suite?

Mojo and avid pro is not a cheap editor, and it is advertised as capable of 1:1 SD single stream cutting – which it does well if you take in to account extra time for rendering things like lower thirds and dissolves. I am surprised that there is so little about this major fault in the forums – i think it is a key feature of any editor that when ou play out the programme goes to tape as you have cut it, with no random colour treatment from the BOB.

Anyone experienced this problem?

iceni | UK corporate video production and DVD design |

https://www.iceni-tv.co.uk

[Icenitv]

You are right, is true component video in to Avid Pro thru Mojo. And for the cost it is a great quality editor. But it isn’t an online.

We have a suite hooked up to Beta SP and Digi decks. When you perform a digital cut using the component cables the signal to tape is affected by the Mojo. Blacks become dark green.

Digitising the footage back in and offering it up against the original video it is obvious that Avid Pro is not an online suite.

Having posted on Avid and elsewhere, the responses I have got range from ‘is the video out set to component(!)’ to ‘you have to ask yourself…can you live with it.’

It seems the green hue is a fault with Pro and Mojo, if you want to play out to SP or Digi component then adrenaline it is. Unless anyone here knows something I dont…

You ask whether to come out firewire – if you do then your video will be compressed 5:1 DV. But if you are mastering to DVCPRO then DV is the best quality you can get to the tape anyway and going through the analogue cable just puts more components in the way of the signal.

Andi

iceni | UK corporate video production and DVD design |