Michael Buday
Forum Replies Created
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It depends on what your final target format will be. The fact that you’ve already got interlaced material at 29.97fps suggests that you’re probably not going back to film. If that’s the case, I would probably cut the entire show at 29.97/1080i.
Assuming you’ll be offlining this at a lower resolution, what I would suggest is:
– Downconvert all the 1080i/29.97 material to 480i/29.97 with matching TC. Use the ANAMORPHIC setting of the HDCAM deck during the downconvert, set your sequence for ANAMORPHIC as well within FCP.
– Downconvert all the 1080p/23.98 material to 480i/29.97 with matching NON-DROP FRAME TC. At this point, 2:3 pulldown will be added to the downconverted output. MAKE SURE THIS IS PERFORMED CORRECTLY SO VIDEO,AUDIO AND TC ARE ALL IN SYNC. Same settings for ANAMORPHIC apply.
– Ingest all your material into FCP at 480i/29.97 using the offline codec of your choice and edit away.
– When it’s time to uprez, recapture the required 1080i material in the normal way. The 1080p material can be recaptured from the 2:3 HD output of the HDCAM (make sure and set the RS-422 “tc sense” to 30fps).
That’s about it!
All the best,
Michael Buday
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>>> It will be the same. If all the settings are the same for both exports.<<< If only that were true. Unfortunately, I've found that using the EXACT same settings in "Compressor" and in "Quicktime Conversion" do NOT produce the same results, especially with H.264/MPEG4. Using the exact same settings, Compressor's files are always considerably larger, and the aspect ratio is not what I specified. I'd like nothing more then to use Compressor to batch automate all the files I have to output everyday, but I've found it to be unreliable in this regard. This baffles me, because I'm assuming that they both use the same QT conversion engine to do their magic. All the best, Michael Buday
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If your goal is to export as much metadata from your project as possible, then Automatic Duck would be a worthwhile investment so you can take an OMF from FCP to Avid, but you haven’t specified what system your online editor is using. Is the show being conformed on a linear or non-linear system?
If your show is basically cuts and dissolves, then an EDL will work fine. If the online will be done on tape (linear), then an EDL is the ONLY way you can go.
In regard to the Sony EDL format: the “encrypted” look of the EDL is normal, and can be read just fine by SONY edit systems.
As far as the CMX-3600 list not loading into the target system:
My company makes EDL optimizing tools (www.swgrille.com). If you send me the EDL, I can have a look to see wha might be causing the problem.
All the best,
Michael Buday
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>>> It isn’t a problem, it is how the software is designed.<<< Sometimes the way software is designed is THE problem. Yes, it's really nice to be able to adjust the speed of a clip directly on the timeline without having to load it into the viewer and drop it back on to the TL, and in fact, more and more NLE's are offering this. Where some improve upon this however, is that they allow you to perform this modification to the clip length without affecting other clips. It would be nice if FCP had an option to RIPPLE or NOT RIPPLE the TL when performing this type of operation. All the best, Michael Buday
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If you’re cutting on anything but a Sony XPRI system, yes – it’s true that you cannot stay in the native HDCAM codec. If you are cutting on an XPRI, you can take the SDTI (Serial Data Transport Protocol) signal from an HDW-F500 into the XPRI and stay native HDCAM. Otherwise, you’re forced to come out of the HDSDI spigot at 1.3Gb/s and convert to the codec of your choice.
All the best,
Michael Buday
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If you shot on a digital format and you exceeded the headroom of your digital audio tracks – yes, you’re toast.
Sorry.
All the best,
Michael Buday
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Hi Graeme,
I’m curious about what you’ve pointed out here with Sony cameras. Are you saying that Sony DV cameras, when applying an “electronic” 16:9 aspect ratio, actually throw away about 1/3 of the resolution? Is this true of all cameras that do this electronically as opposed to optically? When about 16:9 capable Digibeta cameras? Is the same true for them?
I’m interested because I bought my son a Panasonic AG-DVC80 a couple of years ago, but was extremely disappointed to discover after I bought it that it’s 16:9 mode was really only letterboxed 4:3. I regretted not buying the Sony (VX-2000 I think?) because I thought it did true 16:9.
My son’s 21st birthday is coming up, and I was planning on buying him the Panasonic anamorphic lense for his DVC80. Have you seen any results from this combination?
Many thanks for any insight you can provide.
Michael Buday
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Go to the TOOLS menus and turn ON the AUDIO MIXER. Then drag it to a convenient spot on your canvas. You can MUTE and SOLO, PAN and set LEVELS for SOURCE clip tracks from there, before sending to the timeline.
All the best,
Michael Buday
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The XML output from FCP should, from what I’ve heard, contain everything about the project, including the keyframe metadata you’re interested in. More likely is that Disceet is ignoring that data during import except for the placing the closest effect type – in its default state – on to the clip.
All the best,
Michael Buday
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>>>Do you work for Cortina Productions by chance just outside of DC? <<< No - I'm based here in Southern California. I spent a considerable amount of time a few years ago training some editors in DC on the new (at that time)23.98psf HDCAM format - but that's my only connection to DC. All the best, Michael Buday