Mark Raudonis
3
COW Coins
Forum Replies Created
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Ken,
Help me out here. I did a search on the Sony website and I could NOT find the model XD-CAM you’re referencing (Sony PMW-EW1). Assuming that it exists, you’ve changed the nature of your question. HD monitoring is gonna be different than SD.
Your AJA LA is only a SD box, so you’re NEVER going to get HD through it. You’re going to need to upgrade BOTH your IO AND your NTSC monitor. We have the Kona 3 card which can feed both SD and HD. So, yes, with that kind of card you can monitor HD directly from the FCP timeline.
Do yourself a favour and have a reseller show you the exact components you’re going to need to make this work. There’s nothing more frustrating than getting a new camera only discover that you’re thousands of dollars away from being able to edit its output.
Good luck.
Mark
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Try rolling back your FCP to 5.1.4 and see if the problem goes away. If so, then obviously, something has been changed in the project settings to cause your problem.
We use DVCAMs/DV decks all day long and we’re NOT seeing anything other than normal interlacing with 6.0.
Upgrading software mid project is never a good idea… and now you know why. Has anything else changed in your monitoring chain? Different monitor? Cables? Monitoring cards (Kona, BM, etc.).
If the only thing that’s different is FCP 6.0, then go deep into the project settings to see what’s different.
Good luck.mark
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Do you mean out of the playback deck or out of FCP? If you’re trying to watch NTSC video while you digitize, using the camera as a source, then yes, the YRB camera output will work when connected to a professional monitor with corresponding inputs.
If you mean FCP, then any of the common ways of getting NTSC video out of FCP will work.
You will need either a firewire connection to a deck, then out of the deck to an NTSC monitor, or a digital i/o device like the Kona card or the blackmagic card which has an NTSC connector to feed a monitor.mark
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Paulo,
It’s not the tools, it’s the talent.
FCP Studio 2 in conjunction with some outboard stuff like a Kona three, good monitors, and a mastering deck (HDCAMsr) is entirely capable of creating a theater quality master for your project. The quesiton you’ve got to ask is, “Do you know how to do it?” or can you hire someone who does. If not, you’re in over your head and you’re only gonna screw it up and pay twice: once to try it yourself and once to have someone who know’s what they’re doing do it right.
Mark
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[William Wedig] “The project was shot on 35mm, transferred to normal DV NTSC 29.97 for working on and was captured at that setting, our sequence is at that setting. “
William,
You are NOT working @ 23.98… you’re working @ 29.97 and so you’re seeing the interlacing introduced by the transfer to video process. If you used cinema tools to remove the 3-2 pulldown AND worked in a 23.98 sequence AND watched on a monitor capable of playing 24fps, you would NOT see the interlacing.
This has nothing to do with multi format support.
Mark
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I had hear October, but that’s just me guessing.
Does it need a server? Well, it IS called Final Cut SERVER. That should be a clue.
Like most things, you can probably get it to work on a spare system, but for true useability it should be on a dedicated server.
Mark
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The media manager is well documented in the manual.
Page 294 addresses your issue.
mark
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Couple of thoughts.
I wouldn’t bother renaming. I sounds like you’ve already got a naming convention going, so I’d just adopt that to your current workflow.
As for the “too many clips”, try creating sequences of all clips based on some kind of logical break point (by hour? by day? by location). Then, you can log the sequence as if it was a complete tape. (You’re NOT gonna be able to “combine on import”.)
Since you’re on X-SAN, it should be relatively easy to organize your workflow around this.
My biggest concern about P2 is long term archiving. What’s your plan for that?Good luck.
Mark
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[Will MacNeil] “A slightly more reliable option is to Jam Sync the cameras or VTRs. This just means one recorder generates its own continuous code and the rest read this and regenerate it to tape.
“Will,
You’re correct to use the term “slightly more” reliable. Every time there’s a battery change, the code usually goes off anywhere from a few frames to a few seconds. Hardwiring the cameras to a common code generator prevents this, but most people don’t want the cameras “tethered” . Hence the use of the “Lok-it” box.
Mark
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So, other than being under powered and over priced you’d buy one if it only came in your favorite color, right?
Mark