[Matt Bishop]

Hey Walter, the only problem is that 720p 59.94 is still a non-drop timecode and when outputing for a broadcast master they are requesting drop frame.

This downconvert is forcing the episode to run longer then the orginal non-drop 720p timeline. I was able to convert the 23.976 to 59.94 but again the problem still exists with the Dbeta running longer. Does anyone have any light they can shed upon this problem?

Thanks
Matt

[Matt Bishop]

Thanks for the response Walter, with this in mind is it possible to convert the 23.976 to 59.94 then downcovert to 29.97 via the KonaLHe. I have tried this using Cinema tools, but this only sped up the actual file.

Thoughts?
Matt

[Matt Bishop]

So if this isn’t possible, how are people deliverying 720p 23.976 footage to a exact broadcast time for a standard definition delivery?

Thanks
Matt

[Matt Bishop]

Thanks Pete that link, I am hoping that might be the trick. So am I correct to say that there is no way that I can bring t/c in over the sync input of the Decklink, only via the RS-422. Now I just need to find out how the Varicam outputs timecode…

Cheers
Matt

[Matt Bishop]

Hey Tim,

I just finished shooting a two camera HD-100 shoot all in 24p HDV and I am very happy with my final image. Mind you bringing it into FCP has been a little tricky. Here is how I did it.

I used a JVC BR-HD50 deck to bring in the footage via component which can be set to display 1080i, 720p, 480i/p. Since I only needed an SD master I used DVCPro 50 as my capture codec and it looks great. I used a decklink extreme to capture the video and the 9-pin works great for timecode. If you need HD then just use 720p or 1080i depending on what you need as a final master. The only drawback is the audio outputs are RCA which is very silly, but some RCA/XLR adapters fixed that.

Once someone fiqures out the firewire issue with 720p 24p then I will just conform my final sequence. Hope this helps

Cheers

Matt

[Matt Bishop]

Hey Gary, and fellow Matthew, thanks for your help on this.

When you were working in studio did you record a tape back-up and if you did how did you sync the timcode? I was hoping there would be a way that I could take the T/C out of the camera and run it directly into my Decklink HD Pro card, is that possible?

I might be creating a arguement by asking this but did you find the difference in 8bit to 10bit from the Varicam enough to warrent the extra drive space and speed? I am using the footage for Chroma Keying purposes so I imagine that 10bit will be beneficial to me.

Thanks Again Guys

Matt

[Matt Bishop]

Thanks for your input –

I have a couple of quick questions for you, if you don’t mind

How did you keying tests go, were you happy with the footage?

Did the HD-SDI signal have embedded t/c and audio?

So you went into your suite 8bit uncompressed 720p 60p, and it maintained a 24fps look?

Thanks so much for your time and good luck with your tests and shoot.

Cheers
Matt

[Matt Bishop]

Both products appear to be targeted at different methods of capturing. The Miranda takes the HDV input signal and outputs HD SDI and HD component with T/C while the AJA model justs converts the component video stream into HD-SDI.

I like the AJA version if I take a feed directly from component signal before I lay my image to tape so it can stay uncompressed and not be converted to 4:2:0, this of course would reguire a on-set computer and a large RAID. The miranda seems to make more sense if you have already shot your footage and you are stuck with HDV, then you can capture via HD-SDI and still keep your source time code the same.

We are planning on shooting a studio show with the JVC HD-100 (whenever it comes out) and we want to capture the image before it gets laid to tape so we can keep the 4:2:2 colour sampling and capture directly to a G5 via HD-SDI at a uncompressed resolution. So for us the AJA version makes sense, now we just have to figure out the timecode issue so we can keep a tapeback up on a HDV tape for the Murphy’s Law mishap.

Both look pretty cool, just depends what you need them for.

P.S. Anybody have any advice on our timecode issue, if we use audiotime code (coming from a third party device) and sync our camera and computer together can FCP extract the audio timecode and use this. I have done this with an Avid before, but never tried it with FCP, thoughts?

Cheers

Matt

[Matt Bishop]

Many thanks to everyone for their advice.

Cheers
Matt