Matthew Small
Forum Replies Created
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We had the same problems… try re-installing the drivers and checking to make sure the 4:2:2 codec is selected.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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I looks like you are running an unsupported configuration with Final Cut 5 and 10.3.9.
From the Blackmagic site:
DeckLink 4.8 for Mac OS X 10.3.8
10 February 2005HDTV 1080 down conversion on capture, 3:2 pull down in HD, Photoshop plug-ins, Single Field mode when paused, Voice Over Tool, Extended Core Audio support and 12 channel HD audio output. Compatible with Final Cut Pro HD v4.5 (not v5.0).
I don’t believe the 4.8 drivers are supported for Final Cut Pro 5. I could be wrong, but…
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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If you needed component outputs from the card, you should have purchased the DeckLink HD Pro
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We’re running a Blackmagic Decklink HD Pro 4:4:4 and Xpress Pro with a mojo on the same box, but we have partitioned the internal drive into 2 volumes, one for Apple, one for Avid. No problems as of yet because they can’t mess with eachother.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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-the master camera tapes were shot at 23.98 (24p).
MS – If the camera masters are 23.98, why are you onlining at 29.97? Take the EDL through Cinema Tools and conform at 23.98.
The tapes were originally dubbed to betaSP and offlined on Media Composer on a 29.97 sequence. If we batch the footage using the original betaSP tapes into our Symphony using the original sequence, the project loads and plays perfectly. If we digitize into our Symphony using the original HD tapes and upconverting in the deck (done by our online editor so I don’t have any more details), we experience the same timecode and feezing image problems.
MS – Symphony | Nitris isn’t out yet on the Avid side, so I’m guessing you’re DOWNconverting to digitize into the Symphony.
My guess is that your problems occuring when the source time code frames are 25,26,27,28, or 29. These don’t exist on the tape (because the tape is 23.98).-the sequence in Media Composer is exported as EDL’s and imported into FCP for onlining. The sequence is onlined in FCP at 29.97. Could there be an issue or setting that we’re missing that would do a 3:2 pull-up when digitizing this 23.98 footage into FCP and cut into a 29.97 sequence?
MS – Don’t online at 29.97.
-one last note… if we log brand new clips and digitize them, we still see timecode break errors and frozen frames. The frozen frame problem exists even when capturing clips on the fly with no set in and out points.
Is there something we’re missing here? Does HD footage have any other information in it other than picture that may be tripping up our system during capture? Are missing a 3:2 pull-up issue when capturing?
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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Dito, on Sean’s comments. Stay with what works unless you absolutely need to upgrade to 10.3.9.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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The advantage to importing over firewire is very evident if the footage was shot with Advanced Pulldown. You can remove Advanced Pulldown upon import into Final Cut.
I believe you can still remove it after capture, but the files stay the same physical size at 29.97, the pulldown frames just aren’t displayed.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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Actually, Chris, it doesn’t come with the “generic” three-prong cord that connects the “box” to the outlet. My bad.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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We set up the SRW to output bars in 4:4:4 and captured them live. When we looked at them in the Final Cut “software scopes” they looked like they should (your picture 2).
I believe your effort to color correct in 10-bit RGB is prudent. I’m not familiar with the JVC monitor that you’re using, but if it’s a CRT, it should be able to display the RGB properly. The only thing I’d be wary of are your blacks (as you probably already know).
How do you like the Final Touch HD setup? I’ve been doing more color correcting on our projects and tried to check them out at NAB, but they were a little hard to get with.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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Do a google search for SDI 2×1… here’s another one:
https://www.extron.com/product/product.asp?id=msw4vsdi
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”