[Lili Lab]

Thanks so much. I figured this was the case. The problem is, I have the reference file on the drive, but it won’t reconnect to it. Is there a way to force this?
Now my question is, by exporting the quicktime, am I doing a generational loss?

since you sound like an export, I’ll ask you a couple more questions:

1. The other complication was that I was crossing from a 1080iHDCAM sequence to a DVCPro HD sequence and back up to HDCAM. I was careful about using all my original files, but I am trying to determine the best way to cross platform like this to stay in high def (for offline — let’s call the DVCPro HD, offline) is this wrong to do?

2. When rendering (esp in HDCAM 1080i) I’ve found a way to get around the whole render issue, but setting the sequence to 33%, doing all my efx and looking at it in low res. once I’m happy, go back to the render manager and delete those files. Thereafter I’ll change the sequence settings back to 100% and re-render. It works so far, but I’m wondering if there’s another workflow for low res/ high res….

thanks so much!
lili

[Lili Lab]

I have used that, but even then, it’s not a long enough clip. Have you tried the 33%? Is this a right way to correct render time?

thanks,

lili

[Lili Lab]

We would prefer not to scale up by that one percent because it make the image soft, but, when it’s upconverted in the terenex, these blank lines become exaggerated. Now I could crop it off, but then it wouldn’t follow broadcast standards. Do you think the best thing is use the terenex to scale it up?

Would you say the best thing to do is to go directly from the DV even though I’ve slapped so many filters on this piece?

thanks?

Sorry for all the quirky questions,

lili

[Lili Lab]

THANKs for all the advice.

oh, as far as the super 8 transfer goes, it’s literally shooting it off a screen. Ultimately there is flicker, but I can’t really compensate for that when I have a pjct that is running at 24fps and my shutter speed is 30. (or 18fps and 15video) unless there is a filter that I don’t know about. Although I have been doing experiments w/ the HD750 camera, and it has a feature called Electronic Clear Scan that gets rid of the filter, but I’m having some color balance issues with that too. As well as the 4:3 to 16:9. It’s basically a home done telecine, and yields alright results.

Has anyone else done experiments of such? 16mm or Super 8mm home telecines?

lili

[Lili Lab]

I’m sorry, I wasn’t clear – I meant putting it from a Blackmagic 8 bit Uncompressed 1920 X 1080 sequence to a DVCpro HD sequence then compressing it to DVD… I heard the DVCpro Codec is much closer to native SD than the HDCAM 8 bit uncompressed directly to SD. Is this true?

And I would need to spit it out to DVCAM, so the options are either

a: doing it in FCP timeline and re-rendering it to a SD sequence for layoff
b: using the HDCAM master and run it through a terenex and make a dub to SD DVCAM.

It’s obviously easy for me to run it through the teranex, but I want to achieve the best representation of original HD on SD…

thanks,
lili

[Lili Lab]

Thanks for the info Sean. I gathered just as much, don’t know why MM is such a drag w/ FCP. So when they are doing their “offline” w/ SD mini dv, Shall I tell them to make the sequence clips independant and then use media manager to make files offline and export to a High Def 8bit sequence? What if their version of FCP doesn’t have that, and they don’t have the black magic codec downloaded on the computer. Does that even come up as an option? Or will I have to tell them to bring their project on and external drive w/ all the media and move it to the online drive. Sheesh. FCP is really getting on my nerves. Also, wondering about EDL’s and if I have a sequence w/ 6 video tracks it can’t handle that info – okay, maybe 6 is much, but what about 3 video tracks?

Thanks
lili