Mark Raudonis
3
COW Coins
Forum Replies Created
-
Jeff,
I think Kevin’s point was this is a pretty basic function.
Mark
-
Lars,
We’re still HEAVY users of the classic “off-line to on-line workflow”. For us, it’s all about storage. We do reality TV, and the amount of media created is just staggering. Our shooting ratios range from very high to absurdly high. So… we bring it in at Off-line RT and then up rez (conform) the locked cut.
Would I prefer NOT to use this workflow? Absolutely. However, until someone wants to give me a petabyte or two of storage, I’m stuck in the old school workflow.
Mark
-
[Ray Siposs] “Firewire likes all the frames – including the ones that are dropped (missing). “
Ray,
There are no frames dropped… only numbers.
Timecode does NOT affect the frame rate… only how you count the frames. So your statement should read, “Firewire likes all the frame NUMBERS… ”
Too many people are confused by the “drop vs nondrop” issue to let this inaccurate statement go by.
This from Wiki:
To correct this, drop frame SMPTE timecode was invented. In spite of what the name implies, NO video frames are dropped (skipped) using drop-frame timecode. What’s actually being dropped are some of the timecode “labels”. In order to make an hour of timecode match an hour on the clock, drop-frame timecode drops frame numbers 0 and 1 of the first second of every minute, and includes them when the number of minutes is divisible by ten. This achieves an “easy-to-track” drop frame rate of 18 frames each ten minutes (18,000 frames @ 30frame/s) and almost perfectly compensates for the difference in rate, leaving a residual timing error of roughly 86.4 milliseconds per day, an error of only 1.0 ppm.
i.e. – Drop frame TC drops two frames every minute, except every tenth minute, achieving 29.97frame/s.
Drop frame is usually represented with a semi-colon (;) whereas Non-drop is represented with a colon (:)Mark
-
Isn’t there a setting on the Panasonic Deck that controls what’s going down the firewire? I believe that you need to go into the deck menu and change that setting… otherwise your changing FCP won’t do any good. FCP will still be looking at an HD signal, and therefore that’s why you have a settings mismatch.
mark
-
[Peter Wiggins] “BTW I always put 1 second of prevision on too as things are still rolled in manually 🙂 “
Prevision? Is that like “pre-roll” or clairvoyance… you know, I think I’m about to see a vision…. I sense a talking head about to appear. 🙂
Mark
-
David,
Of course you are right! But I fear that you may be “pissing in the wind” on this.
Yes, there’s plenty of people here that don’t know what a “true video signal” is. But the increasing reality is that many of the programs that they’re working on may NEVER see a broadcast tower… or satellite, or cable. They’re headed right for the internet, and therefore, one could argue, if it looks good on the same monitor that they will eventually be watching on, then why bother with that old fashioned interlaced 4×3
tube? Yes, I know, this “ain’t right”, but my point is, it really may not matter!Now, if any of these knuckleheads try to pass off their crap as “broadcast standard, up to spec, meets all delivery requirements”, they’re in for a rude surprise.
Mark
-
Chuck,
Back in the day when we used to use Avids, we had big ole Mackie 1604’s on every system. They looked cool and were impressive, but they really weren’t necessary. When we switched to FCP, we took the position that the mixer wasn’t really a mixer… it was a VOLUME CONTROL KNOB. All mixing is now done in the timeline, so the “mixer” just turns the volume up and down. For that, we have very inexpensive
Beringer 12 trks that are quite sufficient.If you really want to achieve the “flying faders” effect with FCP, it is possible, but I believe that most editors will say it’s overkill. If you’re doing a “final” mix in FCP, then perhaps you’d want it, but if you’re sending everything to a dedicated audio room (like ProTools), then I’d just opt for a “volume control”.
That’s my opinion.
Mark
-
Benjamin,
What you’re asking for is called “Shared Storage”. There are two forums here on the cow devoted exclusively to that topic. One is ” Apple X-SAN”, the other is “SANetworks”. I suggest that you ask this question there.
Quick answer: You need to consult someone who knows about this stuff. I’d suggest Mr. Zelin.
mark
-
Joe,
There’s been tons of debate here RE: AJA vs Blackmagic. Do a search. Most people agree that AJA wins for tech support and warranty, BM is cheaper.
As for frame accuracy, there’s no substitute for testing and calibrating your deck, system, and card. You can get to frame accurate eventually, but don’t expect to nail it on the first try.
I’ll echo Shane and Walter’s endorsement of FCP for long form. We’ve been ALL FCP, all the time for the past four years. Hundreds of hours of programs for MTV, E!, Lifetime, Fox and many more.
The secret to success with FCP is NOT to treat it like a toy. Surround yourself with the tools and equipment of a high end, professional on-line suite and you won’t be disappointed. If you cut corners and eliminate certain tools you can expect poor results. You control the equation. It often has less to do with FCP than other related tools. Like, for example, do you have a waveform/vectorscope? Closed caption inserter? Hardware legalizer? These are the things that professionals rely upon to get the job done. You might get lucky and run without these things, but eventually you WILL get burned.
Good luck.
Mark
-
jason,
Since you have such specific requirements, perhaps FCP is NOT the right tool for the job?
Mark