[Maurice Jansen]

well the answer is simple

make all your source’s to the MX70 anamorphic
the deck will record in anamorphic
no ARC’s are needed.

greet
Maurice

[Maurice Jansen]

well in some country’s
all is diffrent from station to station
luckly in holland everything is the same.
i guess you have to ask every station what there delivery spec’s are
and make it the way they want. and yes this can be a lot of work.
if you are not familiar with this or do not have the time to go after the spec’s go find a dubbing house which know all the spec’s
yes this cost a bit but doing things all over again and again
ain’t a good choice. specialy when you have deadline’s

greet
Maurice

[Maurice Jansen]

hi bouke

you made some cool apps.
can you tell me how precise your LTCreader is?
do you guy’s also program on request?
i’m from holland to actualy i think we have the need for a app
that can read LTC on a audio input and can send TCP or UDP commands on specific timecode’s in the near future. is it ok if i contact you if the need is there?

greet
Maurice

[Maurice Jansen]

the funny thing is that generation issue’s are coming back big time with
all the reencodes with different codec’s 😉 these day’s.
i guess all of us had to use H264 or MPEG stuff from the web and hated the end result.
these things are coming back.

greet
Maurice

[Maurice Jansen]

well

i can only speak for the country i live in. for commercials they only want D10@30MBps
send by FTP
and they don’t want bars and tone anymore. the slate is in the metadata send seperatly.

indeed bar’s and tone are VERY often generated by a seperate device.(for instance internal signal of the deck) what use is a reference not generated by the used system i guess nothing.

greet
Maurice

[Maurice Jansen]

DVD broadcast hmmm really.
since when are tractor’s allowed in formula 1

maybe they want a Media/data file on DVD ???
since it’s 15 Seconds this easily can be on DVD in a realbroadcast format.

ask for more info at the station.

greet
Maurice

[Maurice Jansen]

hi zak

D3 is a composite record format. not a component i guess that’s why they made it 4:0:0
there is only 1channel to sample.
i guess it’s better to call is 4Fsc if it’s a composite format.
i never worked with D2 but when i google it it seems that it’s a Composite format too so i don’t
understand where the 4:2:2:4 is coming from.
can somebody explain ?????

greet
Maurice

[Maurice Jansen]

lol 😉

ok let’s say t in other words
look at the meter reguraly wrong readings call your betacam doctor

greet
Maurice

[Maurice Jansen]

well it measure the signal coming off the tape through the head’s.
so in practice the meter is saying something about the condition of your tape or the condition of your deck. it’s a good practise to watch it sometime’s. you don’t have to gaze at it all the time. when trouble arises it can help you determine where the trouble is. it can even reveal bad REC head’s or circuit’s from other deck’s !! there are if your deck is at a good condition this moment record yourself a referencetape you can use it later to determine tape or PBcircuit/head problem’s.

greet
Maurice

[Maurice Jansen]

yep

a bit off topic but.
the funny thing is that interfacing telephone is the most under estimated part in live or mission critical production.
no matter what kind of production you talk about when telephone line’s are involved the production hangs on the telephone interface. good remote work will go in flames when the telephone part fails.
we al have seen a talent looking in the camera saying nothing because his IFB is not working.
incredible that people don’t want to spend money in quality product’s in a o so important part of a production.
off coarse i talk about live broadcast here and the cow is more about post production.
but can you emagine a staged phone call with a full productionteam like a director a cameraman a audioguy lighting makeup depending on a 20$ radioshack telephone tap.

not my ID

greet
Maurice