[John Pale]

[Ben The Camera Guy] ” I exported each sequence to a quicktime movie”

Did you export as a self contained movie or reference movie? In this instance, self contained would be better…it would slow things down to be referencing all the original clips that made up the sequence.

[John Pale]

Yeah. Unfortunately, I am working off of memory, so I can’t give you a definitive answer.

The current Avids, as well as Meridien Avids can change the field dominance during the import, so you don’t need to invert it in FCP. I believe you could also do this on ABVB Avids, but I am not 100% certain…its been a long time since I worked on one of these .

Best to make a test file and have your client check.

[John Pale]

[Alex Stephens] “I’m creating a movie out of FCP and then re-rendering the movie in the old AVR77 codec and I’m getting studdering images on everything.”

Wait…how are you accomplishing this? There is no Avid ABVB codec that works in OS X. Are you using some intermediate codec first? Please detail the steps you are using.

[John Pale]

Have not used an Avid that old in some time, but Avids currently have an Upper/Lower setting in the import setting…which means you select Lower field first and the Avid converts it to Upper on the way in.

Leave everything lower field first and the Avid should fix it on import. Try it, anyway, with a short clip.

[John Pale]

it sounds like a reference problem.

make sure the reference signal you are getting from the Horita is terminated on the deck.

If your problem persists, try without using the sync generator at all. If it works, then you know that was the problem.

[John Pale]

[Stephen Rutledge] ” if I got a DA-88 deck , what would i need to capture the audio?”
Get one with RS-422 control. Can’t remember model numbers, but they are common. Not sure if you have AES inputs on that Decklink card, but I assume you do. Just capture as you would anything else.

If you want to link these tracks to the HDCAM tapes while you edit search for MERGED CLIPS in your FCP help for more info. I actually find it less clunky to edit with the mix, then match up the other tracks after picture is locked. If the timecode matches, its easy.

[Stephen Rutledge] “- Could i use Soundtrack pro to do the final mix?”
Sure. Pro Tools would still be my tool of choice, but it would work.

[John Pale]

[walter biscardi] “Again, I just go with FCP’s safe title with all our projects. Easier than figuring it out per network. As for splits and such, we do that all the time here and it hasn’t been much of an issue.”

Some networks, like ESPN, have their own specs on where the lower thirds go because they put scores and other info in a crawl along the bottom of the screen. Others have a bug in the lower right corner that they dont want covered by lower thirds, as well. It’s best to get the specs, as these quirks are becoming more prevalent these days.

[John Pale]

FCP and most video apps use YUV color space…Photoshop and other graphic apps use RGB color space. This is probably what you are seeing.

[John Pale]

Frame blending, by definition softens the image. With many types of images its helpful…a necessary tradeoff to achieve a smoother slo mo. It’s not good for every type of shot, which is why you can turn it off. It’s processor intensive, which is why it requires rendering. Not sure what you are asking.

[John Pale]

Live Type is actually pretty bad at credit rolls (though really good at most other things). Even on the Cow Live Type forum they recommend not doing credit rolls with it.