[Keicol]

That was interesting, thanks, but it didn’t mention anything about taking from the Final Cut timeline to make the DVD, it seems I’d have to have a separate system and play back the timeline out through the Kona card and into the Optibase card on the other system, plus it seems that it would make HD DVDs, something unplayable on most DVD players, so I’m told….

thanks, Keith

[Keicol]

You can capture on a clip by clip basis using a -3 frame offset. it’s not exact but it’s close enough, audio maybe a half a frame ahead of picture. I’m in my third week of a feature and have had to add extra personel to work the graveyard shift to keep up with dailies, I’ve found it faster to bite the bullet and batch without sound and use the backup audio from the mixer. I’ve had to spend extra on a DEVA 5 hard disk sound recorder because it writes to DVD at the end of the day and it’s easier to bring in the sound and sync up that way. Dat tapes would be impossible to get through in a night. I tried to capture clip by clip but with two units amd many cameras it’s impossible to keep up.

It’s commom for equipment companys to lie to their customers, they all do it, it wouldn’t hold in court. It’s like actors lying on their resumes, they all do it.

Wait till you try to make DVD dailies, or play back footage on a laptop, you’re in for more surprises.

Keith

[Keicol]

I’ve tried almost everything to no avail, there is one way I had not tried, have the f900 HD SDI out put to the FCP/Kona go through an f500 deck first, just loop it through as an E to E. Make sure you have the nine pin control cable connected to the f500 from the kona card, that’s where FCP sees it’s timecode. I know, I’ve been through all this several times just to be disappointed, I’ve spoken with everyone at all levels at Kona and Apple. They know about it, maybe it’ll be available in FCP 5.5, or???

[Keicol]

I meant, what goes on during the conversion, are we preserving the original information and combining the fields into frames and slowing the frame rate playback without having to invent any new information.

[Keicol]

[gary adcock]”FCP has a Conform 25 to 24 in the tools menu — it does this task better than the deck transcode will

What method of conversion does this method use? Do I set up a 1080 50i project to import the HDV footage into then use the tools menu to output the new clip then import that new clip into my 23.98 1080 project?

thx, keith collea

[Keicol]

How do you slip the timebase? Is that in the manuel? thx, kc

[Keicol]

Gary, That camera is simply for insert action shots M.O.S. If it had a 24p function I would use it however that Z1 HDV camera does not, I’m not doing any in camera conversions, I was planning on shooting 1080 50i on the Z1, transfering that to an HDcam machine at 50i, taking that 50i HDcam tape and with the F500 play it back at 23.98 which the F500 deck would combine the interlaced filds into frames (with temporal distortion) and then play those frames back at a slower speed, 23.98. No frame blending, no interframes, simple interlace into progressive and a speed change. No audio etc. I though that maybe there might be a way to achieve the same effect in the computer?

Keith

[Keicol]

I have a 23.976 project shot at 1080psf 8 bit using an F900, I also have an additional camera, Sony Z1 HDV which I’m shooting at HDV 25i, how can I get this footage into my project?

I had planned on using the Y Pb Pr into an AJA HD SDI analog HD to HD SDI converter which I bought to get the footage into my F500 using the 25i frame rate and then reset the F500 to playback as a 23.98 tape. I haven’t tried it yet and have heard that I needed the 3:2 pulldown option board which I don’t have installed.

Is there a software way to achieve this?

The Z1 is a handy third camera I was hoping to use for is small size for quick action inserts.

thanks, Keith Collea

[Keicol]

Hey Steve, I’m running double sound and am beginning to realize that I just might batch capture video mos and use the mixers backup sound and sync, that way I’ll get the iso’d mics and 2 more of her tracks, plus it’ll make my post sound gal happy cause the mixer’s delivering 24 bit WMD files on DVD from her Diva. Every time I work on someone elses project I say to myself that when I do my project I’m gonna show everyone the right way to do it, cheap, fast and good. well this is my project and……. I’ll have to settle for good… thanks for your advice,

Keith Collea

[Keicol]

Steve, thanks again,

Are you digitizing entire tapes with breakes in time code or are you actually capturing take by take one at a time? I’m five days behind now and looking at hours of capturing. My assistant editor is not very happy.

thanks, Keith