Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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It is possible to do the math:
It has been long established that 1 volt encompasses the range of values between “sync tip” and “peak white”, which corresponds to 140 IRE units. Peak White is commonly identified as 100 IRE; in digital space Black is “0” (in analog: +pedesal black which sits at 7.5 IRE), and Sync Tip is down at “-40″ IRE”. Divide 100 by 140 and see what you get. Burst is 40 units… +/- 20 units around 0.
As far as legal limts go, it is correct to review your broadcaster’s deliverables. As a rule of thumb 0-100 will get you in no trouble, but there are tolerances, and typically 102 IRE is the maximum allowable for Luminance ONLY, but for combined-chrominance in composite space 120 IRE is usually the upper limit, with a lower limit that takes the same overshoot into account.
If you have something like the Harris/Leader TVM-900, use the “Iris” display with gamut alarms — the inside/outside rings light up to alert you to the presence of disallowed-gamut levels.
Really quite helpful.
JPO
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YOU’RE LOOKING FOR VISUAL TIMECODE?
The captured video should be “clean” without any numbers burned into it… but you can call up the numbers in FCP either in the canvas/preview “Show Overlays” or if you really want it to be burned into the picture pull up the TimeCode Reader/Generator filter.
JPO
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Although SHAKE does not (according to the documentation) support HDV, there are ways of getting your footage into a SFIleIn node — after which there are several choices for doing frame rate modifications. I have achieved some excellent results with interpolation — and without all that blending and blurring that makes the picture into one big long smear. Expect some different behaviours of course, with different kinds of image flow — that is, whether it was a still subject that you’re doing a camera move on, or a static camera shot of a highly dynamic scene, or a combination. Expect to try several parameter adjustments, and some interlacing woes. I can’t say I truly grasp what is going on with HDV in terms of whether it is actually interlaced, or segmented or semi-sequential or what ever, but the interlacing that I became familiar with in 525iSD it AIN’T.
Joe
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One little caveat:
Is it the timeline code…. or is it the clip source codes… in the latter, you might want to use the “Time Code READER” filter, rather than the generator.
JPO
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Re: modify source code:
“How would I go about doing that?”If you’ve got the books, or the on-line help, its all in book2, Chapter 25, and the most pertinent entries are around page 446. Read “Chosing Source and Auxiliary Timecode Track Display” on page 442.
That will be a good start…
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The post house actually said I could make a “paper list EDL” when I’m finished editing, by reading the visual TC burn in…
How is this going to “save money”….? It’ll make a nice contribution to the post houses’ GM’s RRIF… because it will be added to the “online” time probably at book rate.
You know, you could conceivably modify the “clip” timecode of the captured footage to reflect the visual time code– so that the clip timecode was the HDcam source code, rather than the Beta dub code. Dangerous, back everything up. At least a “reconnect media” might be possible.
JPO
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“The original tapes from the sony f900 are DVCPRO HD are they not?
Re: page 45 vol ll… If the post facilty is syncing up dailies why should I?”err, no, SonyF900 produces HDCam, a DCT-compressed 3:1:1 format. DVCPro HD is a Panasonic invention.
If the post facility is syncing up daiies, they are making money, not you, and maybe you are okay with that. HDCam/SR decks are available for rent. I should know.
No, this whole Betacam link-up is a throw-back to film dailies, but it is NOT rocket science, or, …. hmmm… seems pretty straightforward to me… oh, wait a minute, I AM a rocket scientist, or should have been…. 😉
All in all, dual-system audio is made out to be enormously complicated, blah, blah, blah, and it supports the notion that only the big post houses know what they’re doing… and milking a cash cow that most people can’t wrap their heads around… understand it, and you can make the process your b-yoch.
“I apprieciate all your help. You’e right, the producers have done numerous movies with the same post facility. It’s going to be hard if not impossible to turn the boat around at this point. All I really want is to edit offline and provide and EDL back to the HD tapes….”
Offline is the key part of the issue, and you just want to do somehting that was previously simple. Someone, however, has become fixated and is jeopardizing your success. Time for them to “ride to Antioch”… (St. Paul’s epiphany)… This is not film, it’s not Kansas anymore.
You are going to provide an EDL back to the Beta tapes, it looks like, unless you can get the HDCam code — which in this case is going to be buried doing the Beta selects. At this point, all I can suggest is make sure you get a source list describing the audio linkup. Thats’ probably the .FLX list — and you’re going to have to retrace back from the Beta to the HDCam.
When you could be using the HDCam original, but digitized to be more efficient than the SD uncompressed Beta… and not letter boxed either, I’ll bet. Maybe that’s an option…. a visual burn… good luck…
JPO
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“I was planning to edit in 23.98 timeline. The production company is making an SD tape (because they’re “saving money”) with circled takes and syncing the audio from the original DATS. I need to provide an AUDIO EDL. Also I don’t own a DVCPRO – HD deck. I only have a DV deck. I need to provide an EDL that reflects the TC on the original camera tapes. ”
They’re saving money how?… by adding this layer of complexity plus stock plus operator plus machine rate plus what else?
I expect you should be able to export at least an OMF out of Final Cut… if not a complete timeline/ Soundtrack PRO-like list, and if that doesn’t work… CMX…?
And I can’t think of a better way of providing an original source code EDL than by using the ORIGINAL SOURCE CODE, especially if its 23.98, ie use the camera originals and you know what you have got.Somebody has sold your production company a ‘bill of goods’ to bolster their “dailies” service….
This doesn’t sound like what Cinema Tools was designed to do…JPO
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You don’t need a DVCPro deck… capture from the original tapes using a compressed codec like DVCPro… you have the option of caturing footage in a number of ways, its native format only being one of them.
As far as “Merging Clips From Dual System Video and Audio” goes, review the 7 pages of discussion in the Final Cut Manual: Book Two, Chapter 3, pages 45-51. that pretty much covers the issue.
JPO
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“What is that? How does that affect my editing? The other question would be if he’s having the footage transferred to Beta SP, do I just edit normally 29.97? at or do I edit 23.98? Anything else I need to be aware of?”
Normally I think of “short” films as being in the 4-5 minute range, but anyway.
Determining whether to edit on a 24 or 30 frame timeline will depend on your release format. If it’s straight to video — may as well keep it on 29.97 if its being delivered on BetaSP.
If, however, there is some intention of going back to 24 frames for some reason — possible film-out, then strip out the pull-down and edit on a 24 frame timeline. There is another, quirkier way of doing things, and that would be to keep the 29.97 material native, and use the feet+frames display on the sequence, making sure that the footage counter matches your stock/gauge — ie 40 frames per foot for 16mm and 20 frames/ft for 35mm, and then of course the pull-down will have to be managed so that it is coherent. By that I mean that the 3:2 cadence cannot be disturbed, and must be preserved through edits. That’s the danger of keeping 24 frame material on a 30 frame timeline. Kind of like the old days of colour-framing — most NLE editors won’t even know that term — the ABCD frames likewise. But that’s only if you’re going back to film, maybe, or doing something else other than just straight back to 29.97 tape, disk, etc.
Joe