[Marco Solorio]

Hey there Kevin,

Well, I don’t know about others, but as for me, I too use a Tascam DM-24 digital mixer, love it and wouldn’t have it any other way. My career first started in the recording industry about 15 years ago, so I’m an audio snob at heart. Saving digital snapshots and settings is the biggest benefit. But even more, each channel has its own dynamics (again, with memory recall), which analog mixers do not have unless you insert outboard gear. Then again, 90% of video editors don’t use dynamics on VOs and such anyway, so I guess it’s moot.

I really do have a lot of audio I/O in the main edit suite, so the digital mixer can also act as a dynamic digital router as well (again, with memory recall). IOW, you can assign any input to any channel, to any output. Digital mixers can be so extensive that if you’re new to them, the learning curve can be high, but in the end, very worth it and very powerful.

And besides, if nothing else, the clients are very impressed when the flying faders start moving around. 😉

Get one. You know you want it.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[David Battistella] “With the cost of hardware so afforable it will be interesting to see what is next. “

Hopefully Apple will finally see the light with greater OpenGL support and take things to a new level there… much like what we see in Motion but better, i.e., support for REAL OpenGL hardware cards using 16x PCIe technology… ahhhhh, but that means new G5 or G6 computers!

Sigh

[David Battistella] “Doesn’t it feel like we have hit a plateau?”

Actually, in some regards, we (they, computer companies) have. Moore’s Law isn’t curving like it used to, this includes Intel and ADM. G5 chips haven’t reached 3GHz and Pentium chips are still in the mid 3.x GHz area. Dual-core is paving its way, but it’s just not curving like it did back in the 90’s.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[David Battistella] “So are you saying it had to be captured to a specfic codec to mix and match or could you just bring in DV native via firewire and drop it in.”

If you wanted to maintain a 10-bit workflow with Cinewave, you *must* work in a 16-bit timeline with the Targa-16 codec, which obviously illuminates the RT Cinewave was famous for, which includes multiple native codecs without transcoding.

If you wanted to mix-and-match codecs on a Cinewave timeline, including 10-bit source, you could do this, but everything truncates to 8-bit because all the processing worked in 8-bit space.

The interesting thing about Cinewave, from what I learned back in the day, was that it’s a parallel 8-bit process (the 16-bit mode used both halves to get 16-bit out), which in turn made it complicated to implement a true and native 10-bit path.

[David Battistella] “If this is the case then how is it any different than what we have right now in FCP.”

You’re right, it’s not! If you wanted to maintain true 10-bit integrity, you had to work in Targa-16, just like we work in 10-bit space, minus the inefficient file size hogging and lack of any RT. Today with RT Extreme, we can maintain 10-bit media with RT additives! =)

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[Walter Biscardi] “Actually in SD the YUV-16 setting was 10bit for output.”

Yes, but even then, unless it was *captured* in Targa-16, transcoding needed to take place, which in turn means 8-bit truncation. So in that regard, capturing in native 16-bit would have been best, as opposed to transcoding, just like we all do with Kona (1 and 2) in native 10-bit when capturing DV25 media for UC work.

Targa-16 was a misconceived, inefficient cluster mess that should have never been invented, but that’s just my opinion! 🙂

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[Walter Biscardi] “I simply captured it all DV-NTSC, but edited the entire project in a 10bit timeline so all the graphics and animations would be clean. With CineWave this was all done in realtime and it worked beautifully.”

But in Cinewave, that 10-bit timeline was an 8-bit playback process, an 8-bit RT process and an 8-bit output. Still though, an 8-bit UC process for that workflow was better than native DV, so it’s not a total loss.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

Hey it works! I was close before with using the flag idea, but I was off by just a little bit. Glad I asked though because then it forced me to figure it out with your help. You always pull through, Curtis!

Hey when are you coming down to the ‘Creek again? We need to have another sushi run.

Thanks again,

Marco Solorio  |  OneRiver Media

[Marco Solorio]

Hey Curtis!

I tried flagging it too, but I didn’t do it by means of an array. Hmmmm, this looks good! And yes, it makes sense. I’ll give it a go and see if it works. Thanks for the help. You always have the answers!!! I’ll come back if I’m stuck.

Thanks,

Marco Solorio  |  OneRiver Media

[Marco Solorio]

You will need a PAL deck to capture PAL media into FCP. And yes, you will do it just like you did in NTSC.

Don’t bother with any other standards conversion methods other than Nattress Standards Converter plugin. It’s only $100 and the quality is astounding. You can read my review of it here…

https://www.creativecow.net/show.php?page=/articles/solorio_marco/std_converter_rev/index.html

Once converted, then output to an NTSC deck.

The other option is to put a hardware based standards converter between your PAL deck and your FCP capture system and capture as NTSC (or dub straight to an NTSC deck). This method is much faster but doesn’t give the best quality conversion when using consumer standards converters.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[Bob Zelin] “As for Miranda, this once tiny company has become a giant, and if things don’t work out, I would’nt hold my breath for great tech support – ALTHOUGH I am sure the product works, and Miranda products in general are very good.”

They’re products have always been WAY over-priced IMO, especially for products that are directly competitive to others out there by different developers. I never understood why people would buy Miranda stuff when specific similar stuff is out there for less money.

But in the end, you can never go wrong with AJA gear.

Marco Solorio  |  OneRiver Media

[Marco Solorio]

[Andrew Kramer] “When I was cutting out some of my “Ummmss” and “Uhhhs” and other rambling to shorted the tutorials, I didn’t realize the injustice I had created.
here is the original comment
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No worries at all. Just glad you didn’t find I was attacking you or anything! =) I know creating voice-interactive tutes raise the pain-in-the-arse factor by 10X!!! The longest one I’ve done so far was an hour long and the editing was not fun.

[Andrew Kramer] “If I could suggest the best plug-in for deinterlacing go over to https://www.revisionfx.com/ and buy fieldskit. in fact they just released a new version with some great enhancements too!”

Yes, Pete’s plugins are great (this is what I was referring to by RS Deinterlacer). I did a Cow review on Twixtor back in 2002 and integrated Fields Kit with it. Since we’re all on topic here, the review can be found here…

https://www.creativecow.net/show.php?page=/articles/solorio_marco/twixtor_review/index.html

I wish Graeme Nattress’ FCP plugins worked in AE as he has some excellent algorithms too for field interpolation magic. His standards converter plugin is the best out there!

Marco Solorio  |  OneRiver Media