Michael Gissing
Forum Replies Created
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I have hired in the A500, the HDW 2000 and the HDW 1800 to output from FCP. They all worked well. The HDW1800 was probably the easiest to setup and use.
I have however noticed that outputting to HDCam had a one frame error on insert (V5.1.X). Just trim a frame before your in/ out markers in the edit to tape window to correct. This was in 50i. A quick test will see if the problem is there in 60i or 24(ish)P!
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Three things.
Audio post people like me don’t want rubberbanding or EQ.
FCP OMF exports have been for me faultless since Vers 4.5
File names should always be computer sensible. There is no need to use characters Windows machines hate, just because Macs are happy. That I suspect this is your problem.
The fact that ProTools is owned by AVID and they are leaving their own format (OMFi) behind says it all. Other audio systems have been noted as better than ProTools in OMF importing. Older versions of ProTools needed external programs like Digi Translator to import OMFis reliably. The problem may be at their end.
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If you export an aif of the mixdown and import that into an audio system like Pyramix you can get a maximum peak readout on the file without playing it at all.
Within FCP I doubt this is possible but someone may have come up with a good trick for this.
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Not enough grunt in the graphics card is my prognosis.
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You will need an card like a Kona or Decklink to monitor the HD.
Your playout should be to an HD format – D5, HDCam SR or HDCam. Digi beta is standard def.
The kona/ Decklink option is also required to do the output to HDcam etc.
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Are the dissolves rendered? Check to see if a green line is in the sequence about the dissolve clip. If so then render and see if there are still issues with playback. Also check on an external monitor, not just the canvas.
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Many thanks. I am yet to find out what the final deliverables are so in the meantime I will advise 29.97 DF for the shoot.
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Thank AVID for the 2 Gig limit. FCP is just being compliant with a protocol from the past. The way around it is to split the show either in half or by tracks. Any decent audio system can join the two sections back together.
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Thanks but the score so far is 50/50
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[Dave Beaty] “Doing a realtime downconvert won’t work for us.”
The Decklink real time downconvert is not good enough in my opinion. My preference is to stay HD and output to HDCam and then send to a facility with a Teranex or equivalent to make the SD digi.
I have also dropped the HD sequence as a nest in a 10 bit SD uncompressed sequence and rendered. Slow but looked OK. I also had some zoomed up SD material but it looked correct without any adjustments in the SD sequence.
I suggest doing a short test with HD and zoomed SD material to check this.