Michael Alberts
Forum Replies Created
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[Noah Kadner] “The workflow is a bit different in that AVCIntra is transcoded at ingest to ProRes”
Would this require the AVC-Intra codec? What app is doing the transcode? Does one follow the standard Log and Transfer method used to import MXF data from the HVX-200?
I searched the Cow and the Web for info on workflow with AVC-Intra but there seems to be nothing out there. One would think either Panasonic or Apple would put out a white paper on this new workflow.
Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
Create a droplet to convert it to AIFF 48khz
Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
At our facility we have the HVR-1500 for the few HDV jobs we do. However, when trying to capture HDV tapes via HD-SDI and RS-422 we can’t seem to get anything close to frame accurate captures.
The deck works perfectly when capturing DVCAM tapes. Frame accurate captures all day long. But when we try to log a clip from an HDV tape and capture it it will be anywhere from 15 frames to 2 1/2 seconds off. In addition, when trying to conform a show that was originally edited by a client in HDV the clips wouldn’t even link due to mismatch in media lengths.
This problem exists with all three edit systems in our office: a Kona 3, Kona2 and Kona 3X system. However, if we use firewire as the machine control protocol the deck works much better. Still not 100% accurate, but almost usable.
The problem seems to rest with FCP. We know this because when we use the Kona capture app that comes with the card we can capture frame accurate shots all day long. It’s only when using FCP does the RS-422 problem occur. This was with FCP 6.0. I’m not sure we’ve tried capturing from an HDV tape since upgrading to FCP 6.02. Like I said, we don’t get that many jobs that were shot HDV.Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
Or just use a an AJA card or BlackMagic and do it all in realtime. We do HD programs for most networks and need to deliver HD and SD masters. Our final masters all run though the Kona3 and then through a legalizer before they reach tape. Some networks want SD 4:3, other want 16×9 letterbox. In some cases we have to do a resize on lower 3rds for the SD output. It’s also necessary to protect for 4:3 in action. If the cameraman didn’t adjust for this case we do a pan/scan on the object to get proper framing. It’s much easier when the network allows a 16×9 letterbox.
Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
Nobody stated the obvious, so I will. FCP does a fine conversion of MXF to QT for you upon import. I’m assuming you have FCP since this is a FCP forum. Otherwise I would say P2 Log.
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In addition to what Gary said, also make sure you have the tracks in the sequence assigned to the proper channels. Right click in the audio track number area of the timeline and assign it to 1,2,3 or 4 (or 1-2 and 3-4 if you set it up for stereo).
Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
We upgraded last Friday to FCP 6.02 in order to eliminate some bugs, however we didn’t see the mention of that update killing the P2 import function. Now that we’ve upgraded we’re unable to import newly loaded Contents folders from a shot yesterday. FCP 6.02 or QT 7.03 has brought us to a grinding halt.
We have a drive on this system that still has FCP 5.02 installed. We’ll have to reboot into that drive and do the import from there. This sucks big time. How could something this major slip by Apples crack beta testers?Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
In our case it seems that 8 out of 10 down converts from 720p 23.98 to SD 29.97 Digibeta is a filed off. Instead of First Frame of Picture starting at 1:00:00:00 it starts a file late. I always thought this made sense since we were converting from an upper field format to a lower field format.
It’s disturbing to hear that people are having this issue when doing a cross convert to 1080 29.97. Our same show that we down convert is also cross converted form 720p 23.98 to 1080psf 23.98 and we DON’T have the same problem. It’s frame accurate every time. No field issue.
SD deck is an A500 and the HD is an HDCAM HDW-D2000. Locking to house sync 29.97 for the down convert and using Free Run in the control tab for HD outputs.Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
The only thing wrong is that you have you deck set up improperly. You need to set it to INT TC and set it to REGEN. Then do as Lee mentioned and use the Black&Code feature of FCP in the ETT window. Black as much tape as you need to get you up to your bars. FCP will default to 58:00:00 but you can set it to whatever (58:30:00) and then black 40 seconds. Then have your bars in FCP start at 59:00:00 or whatever you want.
Once you have the deck set up properly this will all work just fine. No need to patch a cable from the Decklink to FCP with timecode (since no such port exists on the card and FCP doesn’t send tc out). This is all done with the RS-422 cable telling the deck where to punch in on the tape. This is how FCP has worked since version 1.Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
Did you capture your HDCAM material to 720p or 1080? If you captured to 720 than you need to set up FCP and the Kona to do a cross convert back to 1080. This is why your deck is showing a red light. It’s also why you get no picture on tape. The deck is set to record 1080 and you’re sending it 720.
We master 720p shows out to 1080 all the time with our Kona3 and a HDW D2000.Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net