[Michael Costa]

Thanks Michael, but I am using a broadcast monitor, downstream of FCP. So are you saying I should be able to see fields as I step through the timeline on FCP?

Of course I can see fields in real time but these are 8 frame fade ups and downs so it’s really hard to see a problem. I want an edit bay solution that lets me see this problem as easily as I saw it when jogging the tape on the Digibetacam.

[Michael Costa]

Thanks Michael – I tried messing with thst but it didn’t show my field problems when stepping through fades. In theory I thought setting this to field would solve my problems but apparently not.

[Michael Costa]

Thanks Andy – I’m aware of needing to view on the broadcast monitor. My field problem was only on the fade up and downs of footage and graphics so we’re talking about 8 or 10 frame fades. In real time it’s actually really hard to see the problem.

So is it right that FCP can’t expose this problem in baby steps the way the Digbetacam can?

[Michael Costa]

Great reply Walter – thanks for all that.
You have opened my eyes to some potentially uncool things ProRez might get up to.

The job I’m talking about is a concert video in a large theatre environment, so the only real visual challenges will be extremes of light rather than tricky movement (drummer notwhithstanding!).

I had considered DVCPro HD as an originating format but hadn’t really considered it as a format to transcode to and edit in.

Food for thought – thanks again.

[Michael Costa]

Hey Walter, no need to water down Bob’s reply. I’m an audio pro and the audio boards are much more violent than this wonderfully cordial place!

I take everyone’s advice on board and realize that even a single stream of uncompressed HD is too much to ask without a decent external RAID.

OK, plan B: I know this is a subjective thing, but is ProRes’ HQ mode good enough at a professional level to use for a HD product? In our case the end result will be for DVD, TV (HD 1080i at best) and a vsgue chance of a BluRay disk. My opinion is that the HQ mode will be more than enough for DVD and the HD TV, but what about as a source for BluRay? Most reports I read claim ProRes is awesome at this level. I’ve only used it in SD myself.

Thanks.

[Michael Costa]

Well Kelmedia – color me VERY surprised!! You were absolutely right – the distort aspect of the affected clips was not 0 but rather 33.33.

The question now remains, how did this change on only some clips? The guy doing the logging was an absolute FCP novice and was just following my logging instructions by breaking the main clips into subclips. Seemingly FCP did this on its own for some reason. Hmmm …

[Michael Costa]

We’ve got the same rig as you – LHe and Quad G5.
This probably isn’t the answer you want to hear, but for my money, don’t let computers running stuff like this go to sleep! We’ve got the video rig and a high end Pro Tools audio studio and you’re asking for trouble letting these computers sleep when they’re managing all this time sensitive material with sample clocks running, etc etc.

We just set the monitors to blacken themselves after 30 or 60 mins. Sleeping just seems to start trouble!

[Michael Costa]

Thanks Dave – this was the first thing I tried. What I was getting was the main clip checked as anamorphic and various subclips created from it also checked as anamorphic. Forget the sequence/timeline at this point. Just double clicking the clips showed them looking different from each other in the viewer.

KelMedia – thanks for the tip. I’m away from the system at the moment but I’ll look at that on Monday. I’d be very surprised if you’re right though because these subclips were just created from masters in a logging session and that’s it. We’ll see.

[Michael Costa]

Thanks for the quality reply.
I thought the LHe was promoted as having a TBC built in. Let me check . . .

<2 mins later>

Quote:
Not an entry-level card, KONA LHe offers a full ride to HD with no-compromise, 10-bit uncompressed video, 2-channel AES and 8-channel embedded audio, analog composite/component video I/O, 2-channel analog audio I/O, broadcast-quality hardware downconversion and TBC on analog inputs.
End quote.

This was one the things that appealed to me about the LHe when we got it here.
Is there some official Aja presence here that can comment on this? Does this thing have a TBC or not?

Thanks.

[Michael Costa]

OK, I captured it on Freerun. Under the bottom of the three input arrows in the Control Panel, it still says “Genlock: Video In” when it detects the moving video signal and then falls back to “Freerun” when the VHS is stopped. Even when the tape is going, the Freerun radio button is on but greyed out. So there’s a few mixed signals going on there.

The result is much closer but still out. The movie begins in sync and by the end of 45 minutes it’s at least 5 frames or so out.

Again, does anyone know why when captured with the same hardware into the same program at the same time can this even happen? I might have to chase up AJA customer support on this one.

Thanks,