John Pale
Forum Replies Created
-
Select clips
Modify Menu/Clip Settings
-
Yes. There are realtime hardware legalizers that do more than the harsh blanket adjustments that Proc Amps do. Just Google “Video Legalizer” and you will get a good sampling of the available products and pricing. The good ones are not cheap.
You should be as careful as you can when onlining/finishing a program. Real external scopes (and knowing how to read them) are a must. The reality is, when working long hours on a tight deadline, you may miss something small. It happens. Working with clients/producers who do not budget enough time for the finishing process doesnt make it any easier. A legalizer is a nice safety net, if you can afford one.
That being said, I have done many, many shows for cable and network broadcast over the past decade, without using one, and have had very few problems. Even then, basically, they just return the master to you and tell you to fix it. They also tell you where the problem is. Unless your show’s levels are a total mess, its not something you should be overly stressed about.
Some networks are stricter than others. From my experience, the “smaller” ones tend to be stricter than the “big” ones.
-
Yes. There are realtime hardware legalizers that do more than the harsh blanket adjustments that Proc Amps do. Just Google “Video Legalizer” and you will get a good sampling of the available products and pricing. The good ones are not cheap.
You should be as careful as you can when onlining/finishing a program. Real external scopes (and knowing how to read them) are a must. The reality is, when working long hours on a tight deadline, you may miss something small. It happens. Working with clients/producers who do not budget enough time for the finishing process doesnt make it any easier. A legalizer is a nice safety net, if you can afford one.
That being said, I have done many, many shows for cable and network broadcast over the past decade, without using one, and have had very few problems. Even then, basically, they just return the master to you and tell you to fix it. They also tell you where the problem is. Unless your show’s levels are a total mess, its not something you should be overly stressed about.
Some networks are stricter than others. From my experience, the “smaller” ones tend to be stricter than the “big” ones.
-
Except you cant recapture if you need to revisit this project later on..but, i am glad it worked out for you.
-
You need a true PAL deck or camera. Though your camera has the ability to provide you with an image in the viewfinder , its not really converting it on the firewire output.
If this is an important enough job you should just bite the bullet and rent something for the day.
-
[Pat King] “but is there any relationship between bars generated by the camera and images captured by the camera…?”
Yes.
-
Not really, as the bars generated by FCP have no relationship to the signal your camera is recording to tape….however, this may satisfy your client and he may not notice.
-
Import the image sequence into Quicktime Pro, export into the codec you are working in. Load into FCP
-
try removing the font you added and restarting the computer, to see if thats the culprit.
I have never heard of a problem like this, but its a good place to start.