Mark Raudonis
3
COW Coins
Forum Replies Created
-
G-Video,
The “drop/non-drop” issue is perhaps the most confusing technical nuance of professional video. Add to that the differing frame rates that come with HD and you have a recipe for total flummoxation (my word). So, don’t worry about not quite understanding this. I’ll try to answer your questions.
First, the SMPTE engineers that created “drop frame” timecode should NEVER have named it “drop FRAME”. They should have called it “drop NUMBER”, ’cause that what it does. Drop frame has EXACTLY the same number of frames as Non-drop… it’s only the counting system that’s different. Go to wikipedia and do a search for “drop frame” timecode and you’ll get a pretty good explanation of the difference.
1. Yes, you can use both “flavors” as source material for your sequence. Once a clip is dropped into the seqence, the timecode is irrelevent. The sequence timecode take priority and that’s what carries forward. Your choice for timecode flavor for your sequence depends on your delivery requirements. Most broadcasters specify “Drop frame” code. I’d suggest using that.
3. Again, your source code doesn’t matter. The sequence will read it no matter what. Where many people get tripped up is when they have to generate an EDL of their sequence for uprezzing. If you’re not careful, an EDL can “miss” the designation for drop or nondrop and that WILL screw you up. However, if you aren’t generating an EDL and you’re only working in a timeline, don’t worry about it.
Good luck.
Mark -
Dave,
Don’t know if this helps, but here’s what I’ve observed. We use “Off-line RT: Photojpeg” all the time for our off-line cuts. We make DVD’s for distribution. Just about every single transition that involves an effect (green screen in our case) experiences a level shift approx 1 second before the transition. Since this is for off-line review and approval only, so we’ve learned to ignore it. However, it’s there ALL the time.
In your case, it sounds like you’re using PhotoJPEG, but at full resolution. I would suggest trying a different codec.
-
Alan,
YES, it can be done! Not with FCP, but check this out: https://www.varasoftware.com/products/wirecast/
This is a mac based, firewire fed, full blown switcher/effects gen/ and, get this, internet streaming server! Did I mention it only costs $500?
We have it set up in a small insert stage where it takes the firewire feed from three small Sony cameras. Audio comes in off of an outboard mixer, but goes into the wirecast via firewire. Would I hang a network TV broadcast on this? No. However, for certain controlled situations, this can be a very slick solution.
Mark
-
Chris,
We’ve got six of them in the building…. all six have lost their doors!
Consider the “doorless” version like a convertible with it’s top down… much easier to get in and out of!
mark
-
Shane,
Actually, it does matter. I think what Mike is saying is that there’s a discrepancy between the original master (Drop frame) and the dub (non drop). If there’s a diferance here, then yes, your list will be out by seconds, and totally useless.
My advice is to have a conversation with whomever is dubbing this stuff and tell them to GET IT RIGHT! You want identical code. If you don’t get that you shouldn’t pay for it!
Now, if you’re aquiring on 24p and then translating to 29.97 DVCAM, then, yes, there will be a difference. You need to discuss with your produciton folks how you should handle this.
Good luck. Communication is the key.
Mark
-
Paul,
I don’t doubt that you’re having problems, but I’d like to offer a glimmer of hope.
We use an FCP/X-SAN combination to turn out hundreds of hours of one hour episodic reality TV shows. Our shared storage is approaching 48 terrabytes, and we have multiple editors working on the same episode simultaneously. We couldn’t achieve this level of production if we had the kind of performance you’re experiencing.
As you compare your experience of working on an Avid/Unity vs an FCP system, are you comparing systems with similar resources? In other words, are you spending a similar amount of money on drives for your FCP as for your Avid? How huge is your Huge? Have you maxed out all of the drives? THere’s many things that can affect throughput. Media organization. Project organization. Connectivity. Software version compatability. Hardware drivers. THe list goes on.
My suggestion for you is, find a qualified tech-head that you trust to take a close look at your system/workflow and get it straightened out. You CAN have stability and efficiency with large projects… you’ve just got to be careful about how you work.
Good luck.
Mark
-
Andy,
Are you sure? Have you every seen a secondary (aux) running code displayed in the the userbits field? I haven’t. And… how do you get this “aux” code onto the tape? Every deck that I’ve ever scene has only ONE primary timecode in point. I’d love to be proved wrong, ’cause I could certainly find a use for a secondary tc trk, but I don’t think it can be easily done.
mark
-
My understanding of user bits is that this is a “stamp” kind of thing… not an auxiliary TC channel. You can put in things like “cam a” or “bill” or “10-23-06”, but NOT just designate an alternate timecode. I welcome any corrections on this.
Mark
-
Silicon color has their own forum for their product, “Final Touch”. It’s on their website.
https://siliconcolor.groupee.net/groupee
You have to register to log in, but the level of discussion is pretty high.
Mark
-
Got the snowball too…. love it for “scratch work”.
Somewhere on-line someone did an A-B comparison between the snowball and a very expensive studio mic. You could tell the difference, but all things considered the snowball held up pretty well. Certainly well enough for temp work.
Mark