[Jordi J recort]

Hi Terry, I didn’t did any fix! just plug an play. I’m on hackintosh build my myself, using a Gigabyte Designare MB and I9-9900K CPU, I ran both Mojave and now Catalina, Performance on same hardware is a bit better on Catalina. I’m thinking to get an iMac M1 and try the M.2 mounted on a external enclosure and see what happens there.

[Jordi J recort]

Hi there,

I have exactly the same configuration of m2, and I tried with both models, the original sonnet M2 card, and the new silent M2 card.

With both I’m getting around 6700 MB per second.

I think one thing is what the board can achieve natively, different thing please what the computer can deliver.

I know from other Sonnet products, that the very same product can achieve faster speeds on a Windows system than a Mac system.

II have to say that I’m very happy with the system, I have been able to edit a full feature movie using directly the original 5k RAW dmg’s of the camera like they were proxy HD ProRes files.

Cheers!

[Jordi J recort]

Hello there,

I have the current scenario,
RED files converted to Prores 1080 as proxy with RED-Cine.
Director has imported and did the first cut with the Prores files as originals

Now I have to do the online relinking the original red files.
And obviously doing a Relink media files don’t work because the extension is different.

So as I have read, it’s as easy as moving the prores files to the proxies folder and copy the red files to the originals folder?

Sounds too easy for me!

Actually we’re on 10.0.9 because 10.1 came in during the editing and we didn’t dare to take the risk to update in the middle of a project. (call me “old school” guy)

Thanks in advance!

Jordi

Jordi J. Recort

Composer & Editor

[Jordi J recort]

Hi Paul,

I found this post because I was searching a way to contact you about an old post.

First your answer:

I use to resize images to a sightly bigger size.. lets say 2000x”whatever is the ratio size” if the image it’s landscape or “whatever is the ratio size” x 1100 if the image it’s squared or vertical. This way I have certain amount of reframing in FCP.

If I have to pan and zoom, then I do the math to calculate the full frame at the maximum zoom. If I have to do a pan I calculate the complete pan (i.e creating a 3500×1200 image).

If you know for sure the final position of the image then just resize in PS at 1920x”n” or to “n”x1080.

FCP can handle larger images but.. slow down rendering processes, takes memory, FCP gets slower and PS does a better resizing than FCP.

Also remember to check at Sequence Setting “Best” for motion quality.

Sometimes still images have “too much” resolution for video, resulting in a flickering/moire frame. The trick here is apply a small amount of gaussian blur to the image something between 0.2 and 0.5. This trick also increases the final quality of texts on DVD menus (even if at your computer screen looks blur)

Regarding the output file formats.. any uncompressed is valid.. but formats like PICT and TGA are easier to handle by FCP and results in more real time.

Hope This helps if is not so late…

Now My question:

I have read in several posts that you have a Multibrigde and a Panasonic AJ-D230.
How did you remote it?
As far as I know, Blackmagic products are ONLY RS-422 and the D230 is ONLY RS-232C
are/was you using a Keyspan? or a Pipeline Digital adapter cable?

Thanks in Advance!

Jordi

Jordi J. Recort

Composer & Editor

[Jordi J recort]

Hello Josh,

Yes, I just copied all the clips from the 25fps timeline and paste it on to a new sequence at 24fps.

I just had to manually recheck around 30% of the cuts, that appeared 1 frame shorter or longer.
This was very fast to do, having two people and two computers. One checking the final cut at 25 and the other modifying the wrong cuts. With TC’s on screen and just moving up and down with the arrow keys we did the whole 90 minutes movie in a scratch.

This way, the EDL exported (even being at 25fps) was with the rigth TC’s.

But probaly if is not working for you is because some setting is not the same
are you also 25 to 24 or 30 to 24?

which were your steps?

I have to tell you that everything was fine on the lab, all the TC’s matched the scanned DPX.

Jordi J. Recort

Composer & Editor

[Jordi J recort]

Hello Michelle,

It seems you have several problems here.

So the first thing to do is check you cabling.

The distorted sound output seems to be a levels issue.

IF you’re monitoring using HI-FI level equipment (mainly connected using RCAs) you should check “USE HI-FI levels” on the Audio Tab of the Decklink control panel.

When you connect the audio to the Betacam, then you should uncheck this option.

The 2800 (if my memory doesn’t fails) has a impedance swicth on the back. So double check that also.
Normally Low Impedance should be fine for “pro-audio” signals and “high” for home line levels.

Regarding the Video signal, obviously if you can see the signal on the monitor and not in the Betacam, there is not a problem on the Decklink, but could be one of the following:

Check the apropiate setting for Decklink output in Control Panel (YUV for the betacam)

Check the setting in FCP, be sure you’re working with Blackmagic PAL SD
Remember that one of the features of the Studio is an ALWAYS on SD auxiliar output. So you can have your FCP settings in (and the board set to) HD. This will cause the main component output be set in HD (ie 1080i50) and the monitor output will be still in PAL SD. This will cause the Betacam not to “undestand” what’s getting on the input.

Check your Easy setup (all FCP presets) are set to Blackmagic PAL… no PAL DV mixed on the output settings… this can cause the the FCP to send the video trougth the Firewire.

Check your FCP Playback settings are on Blackmagic PAL

OR

If you are working in a HD program ( then you must work with an HD setup) then go to the Decklink Control Panel and set the apropiate downconvert mode under processing or directly use the aux output to record on the Betacam SP deck.

When you’re working with several video settings in FCP (something very usual nowadays) FCP tends to screw up itself. A good way to do a kind of reset it’s perform an EasySetup…

If you BetaSP deck is hooked to an in-house ref signal (and the Decklink is not) then also this could be why you’re not getting video in the deck, also of course I assume you have the rigth setting on the input swicth of the BetaSP and also remember that these old models stil have the legacy “made-in-Sony” compoment connector, so you have be sure that the back swicth is selecting the BNC YUV input and not the multipin connector.

For the Edit operation.
just two things:

1.If the deck is not inputing the rigth video signal will refuse to perfom an edit.
2.In FCP Master to Tape function, editing should be selected and the sequence should be dropped on “INSERT” not “Assemble” also tape must be PreStripped and TCs should be set. (unless you’re just dubbing a complete program, then you can use ASSEMBLE and only have the bars/black at the beginning of tape)

Hope this helps for now!

Greetings from the Mediterranean Sea!

Jordi J. Recort

Composer & Editor

[Jordi J recort]

Well,

I had the same problem, but with perfect captured material..

Shoot in Super16mm at 24fps
the lab telecined at 25fps
with burnt TC at 25 fps
recorded on a 50 fields per second tape (obviously).
Audio recorded at 24 fps.

Altougth FCP can edit in native 24fps and on 24@25 modes.

The only way to have audio and video on sync during the editing was:
Have the sequence at 25 fps and reconform all the clips from 25 to 24…this way audio and video were on perfect sync during all the editing.
and altougth the burnt TC mached all the time the metadata TC on FCP… when we export the EDL (also at 25fps) FCP recalculates the original source TC from the unconformed media (don’t ask me why, because on my understanding FCP SHOULD read what’s edited on the timeline) and this is why the TC diferences appeared on the EDL.

Solution.

I have found that creating a new sequence set to 24@25 mode… and just pasting the edited cuts on to this new sequence.. the resulting EDL from this new sequence is almost perfect.
I say almost, because I have found 1 frame diference at the end in all shots… but I guess is because the eternal currentframe/nextframe discussion when you set the out.

Jordi J. Recort

Composer & Editor

[Jordi J recort]

I found a solution..

as stupid as the problem is!!!!

Maybe will not be suitable for everyone, but it works if you have both computers on the same network.

1. copy all the assets to the second mac (as you will do anyway)
2. From Mac 2, connect to Mac 1 and remotely open the project from Mac 1
3. The project will open on Mac 2 and will ask to reconnect media
4. Reconnect media to the local folder on Mac 2
5. Save as the project on local hard disck on Mac 2 and you’re ready to rock!

Stupid workarounds for stupid problems!

Cheers!

Jordi J. Recort
Encamp/Andorra

Jordi J. Recort

Composer & Editor

[Jordi J recort]

I found a solution..

as stupid as the problem is!!!!

Maybe will not be suitable for everyone, but it works if you have both computers on the same network.

1. copy all the assets to the second mac (as you will do anyway)
2. From Mac 2, connect to Mac 1 and remotely open the project from Mac 1
3. The project will open on Mac 2 and will ask to reconnect media
4. Reconnect media to the local folder on Mac 2
5. Save as the project on local hard disck on Mac 2 and you’re ready to rock!

Stupid workarounds for stupid problems!

Cheers!

Jordi J. Recort
Encamp/Andorra

Jordi J. Recort

Composer & Editor

[Jordi J recort]

I’m having the same problem with the same config but on Mac.
Squeeze 4.5 + VP6… and I’m trying to compress DV files on Quicktime

Have you finally found te solution?

Jordi J. Recort

Composer & Editor