Mark Raudonis
3
COW Coins
Forum Replies Created
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Tom,
Well, if you have no control over the off-line process, then you’re basically hosed! Unless you can do methodical tests to identify where the problem is occurring, it seems like you’re just going to have to “fix it in post”!
Known areas where EDL’s/sequences have problems: Speed changes, still frames, “non standard” sources like hi8, VHS, etc.
Yes it’s frustrating, but I’d suggest you “pass on your costs” to your client. If you’re processing an innaccurate list, it’s going to take you longer to complete and that translates to a larger invoice. If your client balks, put the responsibility for accuracy on their shoulders, not yours. (Garbage in, garbage out).
Back in the stone age (when I got started) we would cross check every EDL against the off-line cut BEFORE we went into the ONLINE room. I wouldn’t have dreamed of just turning it over and hoping it would be OK. These days, most folks either don’t know how to do this, don’t want to do this, or just blindly think it’s going to be perfect. You may want to take the time to educate your clients about this “slippage” issue and get them to “share your pain”.
Good luck.
Mark
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Tom,
In my opinion your ‘”Slippage” issues may have less to do with FCP, and more to do with HOW you’re digitizing. Have you ever done an “uprez” test using an Avid to see if you have the same problem?
I would examine your off-line digitizing process and try to identify any problems along the way. For example, a firewire controlled deck is less accurate than an RS-422 controlled controlled deck. Are you digitizing directly from the master tapes or from dubs? Are you using the same kind of deck for both off-line and on-line? Have you checked and adjusted the “off-sets” in FCP? These are just a few of the factors that can contribute to the slippage.
Regardless whether you use auto duck and digitize from the sequence or from an edl, you’ve still got to chase down these gremlins in the workflow.
By the way, we compare and check every final output to the off-line and DO end up having to “adjust” more shots than I’d like.
Mark
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In my experience, the camera has more to do with the perceived “quality” than the recording format. In other words, do you like the look of a Sony camera or a Panasonic camera?
We have two different shows in progress: one uses Sony XD-CAM (Standard def IMX) the other Panasonic DVC-pro (Standard def). I can certainly tell the difference between the two, but it’s a subjective choice, not an objective one. They’re both good formats, and in HD, you’ll certainly be able to Key, layer and do whatever you need. It just comes down to which “look” you prefer.
We’ve used IMX XDcam discs for three years now, and they perform as promised. However, since we work in off-line RT, we’ve NOT been able to take advantage of the low res proxies.
There’s many other factors that go into this decision: archiving, storage, delivery requirements, etc. Do your research.
Mark
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If you’re asking this question, then you suspect that there MAY be issues. So, let’s be honest here… the only issues are whether you care about breaking the law or not!
Then, if you don’t care, how lucky do you feel about NOT getting caught?Other than that, no issues.
Mark
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Chris,
The acceptable delivery format has NOTHING to do with how the program was acquired or the production values attached to it. Saying that a network won’t accept dvcpro hd has just about as much significance as saying they won’t accept 35mm film prints. Some networks just may have have built their infrastructure around a particular format and want to limit what they have to deal with. With digital formats popping up like weeds in a garden, do you blame them?
If you’re trying to imply that network delivery requirements imply some kind of “badge of quality”, you’re simply wrong.
mark
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Michael,
The more I research this the more I think you may be correct. Anybody out there have experience with the Teranex “Mini”?
Mark
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Simon,
Here’s the specs.
Dual core 2.5 CPU. At least 4 gigs of RAM.
Original size is DVCPRO 50 SD shot anamorphic squeezed (16 x 9 expandable). Intent is to blow up only to fill a 720p frame. We do have multiple systems, so I’m contemplating breaking the show into segments to render simultaneously.
Mark
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[walter biscardi] “I’ve never heard of this being “frowned upon” by the industry that I’ve been a part of going on 17 years now, with the last 11 on NLE’s. The only issue we’ve run into with “Special Characters” is using Final Touch HD which does not currently recognize certain “illegal characters” from it’s development in Unix. “
Walter,
I’ve got to agree with DRW on this one… you’re really risking a meltdown by using “Special Characters” in filenames. Why do it? This is a simple, easy step that can be taken to eliminate one possible trouble point.
I’m guessing that you’ve been lucky in your experience over the last 17yrs. I have always been extremely conservative with filenames, clip names etc. This is no place to take chances, especially since the consequences far outweigh any benefits from using a special character.
Normal characters good. Special characters bad!
Mark
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Check this out: https://www.varasoftware.com/products/wirecast/
It’s not a hardware based system, but software based. You can feed in cameras via firewire and do much, more more than Anycaster or Tricaster. This is a truly revolutionary product.
Mark
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Lino!,
I don’t quite understand your question. The J3 and the DVW’s are only RS-422 controlled. THerefore, if you want one computer to see multiple decks, you’re going to need an “A-B” switch for the 9 pin control cable. These are very cheap ($15) and can be bought at most any electronic supply store. So, assuming you already have one of these switches, my only advice is when starting up FCP with a new deck selected, make sure you do a “complete restart” for the program.
By the way, the Sony J30 has a firewire output which would make your life even easier.
Mark