[Jeff Markgraf]

For broadcast purposes, Beta/Beta SP have assumed the “lowest common denominator” function that Quad had way back in the day – everybody’s got one. So it’s still the safest default non-HD delivery format. You’ll probably find a use for a Beta deck for many years to come. So I’d say it’s worth at least picking up a used/refurbished deck.

DV has better horizontal resolution (luminance channel) than Beta or Beta SP. But it has high compression and 4-1-0 sampling, which is not good compared to BSP’s 4-2-2 sampling. So each format is better at one thing and worse at the other.

For analog broadcasting purposes, who cares? NTSC’s 330 lines H resolution & composite color format effectively makes the differences irrelevant. Same goes for digital SD broadcast. HD broadcast is obviously a different animal, but you’d never deliver any HD on Beta anyway! Bottom line – I’d get a replacement BSP deck.

[Jeff Markgraf]

Bob –
It might be safe to assume that the frame synch for the net feed is part of a closed delivery system, rather than a standalone FS. Depending on the age and past budget of the station, they may only have TBCs for their VTRs and no standalone frame synchs. (Some really small market facilities are still living on 80s technology.)

Justin –
If this is the case, you may still be able to do this. Any chance the TBCs are also frame synchs and can take a composite input? Otherwise, maybe the DVE can take a nonsynch input (some did and some didn’t, as I recall). Otherwise, I would think Comprehensive or some other such company would have really inexpensive frame synchs for sale.

[Jeff Markgraf]

Pretty sure lots of broadcast HD finishing is still done in linear bays (Level 3, Complete Post, etc.)

I wonder how long until disk-based camera capture makes tape (and the linear bay speed advantage) a thing of the past? I know, people have been predicting this for years and it’s still here…(just like film!)

[Jeff Markgraf]

Ah, how I miss the days. Axial 20/20, Abekas A83, 2 internal DDRs, A53D, A72 CG, D/Esam audio…

The last great linear bay in Chicago (if you didn’t mind D-2!). Everything talked to everything else. Auto-caching. Direct control of everything from the editor (even corner pinning on the A53). You name it. I loved that room. It just worked.

Sigh. Guess that makes me an old man.

[Jeff Markgraf]

SOT = sound on tape. Sound bites – people talking
NAT = natural sound. Sound that isn’t someone talking, unless they’re talking as part of the background.
NATSND = natural sound (same as NAT)

A typical news package has a combination of narration, SOTs and NATSND. NATSND typically runs under the narration. Then there’s the STANDUP, which is the reporter talking to camera.

Another type of news story is the VO/SOT, in which the anchor reads over video with NATSND, then stops in time for the SOT to come in full.

Many of these terms go back to the days of news film, which could be double system (like features) or film stock with an audio stripe (news & documentary). The conventions carried over when videotape replaced film. (Sad to say, I remember when that happened!)

I could go on, but only if you give me a cookie.

Jeff M.
(Network promo guy, former new guy)

I could

[Jeff Markgraf]

Yea, I know the FCP title tool is weak (so is Avid’s title tool). These were pretty simple titles, so it was okay. I’m used to getting real titles from a graphics department, so I still have to find the time to dig into Boris or Live Type.

As far as this particular problem, I’m leaning toward some flaky media being the culprit, as the problem hasn’t occurred on any other section of the sequence.

[Jeff Markgraf]

Well…

– Trashed prefs, restarted. No change.
– Made new project, copied sequence into new project. No change.
– Exported the section with the problems to a self-contained QT, replaced the affected section in the timeline. Problem gone.

The affected media played fine in QT. Played fine in FCP until putting the titles on. Then the corrupted bits stayed corrupted even after removing the titles.

Anyway, problem solved for now. Can’t wait to do Act 2!

Thanks, Aaron. Anyone else with a thought welcome to weigh in.

Jeff M.

[Jeff Markgraf]

Hi Aaron.

Good idea. I’ll also go look at the original (un-nested) sequence again. One of the reasons I nested in the first place (I don’t normally do that) was to apply some “global” correction to certain sections (a show choir “pops” show with great stage lighting (and horrible for video!)).

Should I use FCP rescue? or just trash the prefs & restart?

Jeff M.

[Jeff Markgraf]

Thanks for the info. I’ll probably go for it.

Jeff M.

[Jeff Markgraf]

Just checked out their website. Looks intense. Not to mention $295. But almost certainly worth the cost. Love the variable edge softness feature.

CharlieX, have you used this plugin? Does it work directly in FCP, or is the footage exported, treated and reimported?

Jeff M.