Mark Spano
Forum Replies Created
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It’s this, it’s real, and it’s spectacular…
Seriously, I had a demo of this at AES and if the broadcasters get on board with systems like this, delivery specs for people like us will be much less… stringent. (Discovery people know what I’m talking about…)
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[Brendan Pyatt] “How do I add Pulldown?”
Your video capture card may be able to do this. Consult the manual, or let us know what capture card you have in your system – one of us might have what you have…
You can also achieve this in software with Compressor. Much better to do it in hardware though – try that route first.
[Brendan Pyatt] “the clip stays at the same length – not the same as the original 25 sequence.”
You slowed it down by conforming it to 23.98fps. If you want it to stay the same length as your 25fps cut but be 29.97fps, your only true hope is a hardware standards converter like Teranex makes. Compressor can achieve results, but they pale in comparison.
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Without FCP, you won’t have the uncompressed codecs. However, you may have success installing AJA’s codecs.
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Sorry – I was looking at the LHe. It doesn’t make sense to me for AJA to have eliminated the proc amp panel for the LHi if the LHi has analog inputs. Definitely one for AJA support…
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Perhaps FCP is already seeing a digital input from the frame buffer of the KONA. Those adjustment controls you seek should be available in the KONA control panel, under the Proc Amp tab.
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I have a guess. The way you connect to EditShare should be either AFP or DaveSMB. If you are connecting one way and creating media and then you connect another way, the filenames will show up all funky. All users should connect with the same protocol – admins can disallow AFP if DaveSMB is to be used and vice versa. You shouldn’t (theoretically) have filename issues once that “rule” is in effect. As a start, try disconnecting your shares and connecting them again using another protocol. You may find the one that works might display filenames correctly…
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Method 2 I can’t explain – but method 1 should work if after you stripe a bit to get to 00:58:30:00 you remember to set the recorder to TC Gen Internal and Regenerate. I have a DVW-A500 and these are switches on the deck. This will tell the timecode generator in the deck to jam sync to the timecode on tape. When you perform assemble edit, it will now look to the tape timecode and continue TC at the in point.
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Shoot and master in 23.976 progressive segmented-frame. That is probably the format that will be easiest to translate to 25 and 29.97 should you need. To get to 25, you can either speed it up and pitch-shift audio to compensate or do an advanced format conversion with a hardware converter. To get to 29.97, it’s simple to add pulldown either in software or the aforementioned hardware conversion.
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Assemble is basically “insert edit, all available channels, including TC and CTL”. Edit to tape is “insert edit, ONLY on selected channels”. In FCP what you have available is determined by the Device Control Preset (in A/V settings). Drop down menu there will give you 2, 4, 8, etc. channels audio. Change this, apply, and you should see them available in your ETT window…
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Deck may have responded to a request to “arm all audio tracks”. Check your device control preset in FCP and make sure you have 4 Channels enabled for audio…