[Larry Asbell]

Lot’s and lot’s of misinformation so far in this thread.

First of all on the part of the broadcast engineer in Paulo’s original post. But then:

Arc nevada says one frame of 640 x 480 interlaced is made up of 2 fields of 320 x 240. A field has one half the lines of a frame but they are the same size lines! One frame of 640 x 480 interlaced is made up of 2 fields of 640 x 240.

Then the venerable Shane Ross I believe misspoke and didn’t catch the fallacy in the Engineer’s saying the progressive frame has less information than a interlaced frame. Shane says “progressive footage means that BOTH fields contain information…the SAME information.” – No, No, No. (Still Love You, Shane!)

Every line in a video frame that’s shot in progressive of a moving scene contains unique information. In PAL, each 1/25 of a second all the scanlines capture the scene from the top down, in order. In interlaced the odd ones capture the scene, skipping where the even ones would be, then the even ones capture the scene, skipping where the even ones would be. In each type of scanning, moving objects are captured in different positions in adjacent lines which is why there is no true changing of progressive footage to interlaced or vice versa.

Progressive contains every bit as much information about the scene as interlaced. Interlaced samples the scene twice as often but with half as many pixels. Interlaced has more temporal information but less spatial information.

Hope this helps.

– Larry Asbell

[Larry Asbell]

I have Red 4.1.4 and it works within FCP 6.1.2. Transitions too.

[Larry Asbell]

In doing an effect that pushes forward in z-space, I find Motion 3 adds a significant amount of blur that increases at lesser Z-depths and does not offer any way to control it. For example, make a grid, lay it down on the “floor” and dolly push into it. The grid starts out sharp and goes quite blurry as the Z depth decreases. Note that this is not a depth of field effect (Motion 3 does not do DoF) and you can’t work around it by changing the absolute Z-depth because the bluring results from the relative Z-depth traveled in the move.

This may be a smart default for some moves (to soften things that are blown up?) but not having any control over it is not good. Anyone else think this is a problem?

More specifics on the example effect:

NTSC Project,

Apply Grid Generator, Adjust position y -20, rotate x 90, Generator Height 1500, Feather .20, Line width 1, background height 20,

Apply Camera, and add Dolly Move behavior set to 800 (or keyframe Z position from 0 to -800.

Set View Rendering to Best Quality.

Play move and observe increased bluring of horizontal lines.

[Larry Asbell]

[Dan Riley] “Larry,
I ended up hooking up the 3/4 deck to our Pioneer DVD recorder
just like you said, but not using the component outputs, (I didn’t
think of it) just recording the 3/4 playback to the DVDs. I wanted to archive
everything to DigiBeta but just ended up recording to the DVDs for now.

I should have tried your idea too. I will next time.

Thanks,
Dan”

Dan – Yea, I should have been clearer that my idea is to just pass the signal “E to E” through the DVD recorder. Good Luck.

[Larry Asbell]

It is necessary to toggle rendering quality from Normal to Best to smooth out the artifacts you are seeing. And yes, it will increase rendering time significantly.

[Larry Asbell]

Another piece of gear that has a good quality frame sync in it that you probably have at hand is a typical DVD recorder. Both my Panasonic and Pioneer ones have component analog outs which would feed your digibeta deck very nicely. And I say good quality having had experience with dozens of TBCs in my 3/4″ days. The signal through one of this is as good as the best to them, really.

[Larry Asbell]

[Arnie Schlissel] “I know of no application that will automatically move your keyframes when you lengthen or shorten a clip. Not AE, not Motion, not Shake, etc.”

Avid always does, and Boris Red does it either way you set the preference.

[Larry Asbell]

I have a dual boot system and it’s working fine:
Quad G5, OS 10.4.9 or 10.4.10?, QT 7.2, FCP 6.01, MCSoft 2.7.3

However I suspect it’s only a matter of time before I’ll want to upgrade the OS to a version that will help with FCP but won’t work with Avid. I figure I’ll go dual boot when I have to, but for now I don’t.

– Larry Asbell

[Larry Asbell]

Rich –
A few weeks ago I did the exact same procedure laying P2 files out to tape with matching code. I have a 1200a and a Kona 3 card. The trick I use is to output to two decks at once: a Betacam under the RS-422 control and the 1200a started by manual crash record. Even if you don’t need the Beta copy, it does the job of generating the timecode for the 1200a. Just patch TC out from the Beta to TC in of the 1200a and select external TC.

In other words, any SD editing deck will do the job you were trying to get the Horita to do. And it works just as well for show mastering.

Nice to know from Walter and Gary that the 1200a can be controlled to crash record with accurate TC, but as Gary is fond of saying, “that’s just too much work.”

[Larry Asbell]

I also found the two Boris Text plug-ins missing after I updated to FCS2.

I went searching on the net and found that they are downloadable for free.

By the version number it looks like it’s an old one but I checked and there has never been a later version than the one at this link.

https://docs.info.apple.com/article.html?artnum=120118