Michael Gissing
Forum Replies Created
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Please make sure your timeline timecodes match the final online and sound post. Find out before you set up your timeline what the broadcast standard for program start is. Then save that as a template to start your next project as well. I am sick of editors starting shows at zero or strange numbers so when we have to online & sound post there is always different codes.
This matters when the editors notes for both online & sound post need on the fly timecode offsets. This does the brain in when you are trying to concentrate on being creative, not a mental number crunching moron.
One editor started at zero and then went before zero to add a graphic. Brilliant!
btw if you want to “edit to tape”, marking your in on a dissolve won’t work. It is not a bad idea to put a slug top & tail. Slug also comes through as a clip in the OMFi so it is a useful reference clip.
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Sounds like you need an edit machine and also keep your old machine with photoshop etc. A networked second computer can be very useful.
I would advise getting the most grunty intel machine that you can afford. In time things will only want more cores, speed and RAM. If you want to use ProRes then both machines will need to be on FCS2.
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The trick is that both monitors have the same delay. You can adjust the audio playback to compensate for delay. Of course if you monitor direct off tape to any monitor with delay you will have to have a means of delaying the playback audio. FCP does it for you but consider other monitoring applications in your edit room.
As we do sound post and pic post in the same rooms, I wouldn’t use a monitor with more than 20ms delay.
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It is possible to do a recompile in uncompressed HD using FCP V5. Naturally you will need to use a card like Kona or Decklink and a big fast RAID.
I am more famililiar with the Sony/ Canon HDV variant. I have done numerous onlines from 1080 50i HDV projects. Mostly they have been cut DV but cut HDV is no different when it comes to recapturing. I have had a JVC camera with HDSDI output so I am confident that this path is valid for JVC.
I use Media manager to create an offline project and convert to the Uncompressed 10bit 4.2.2 then recapture. Delete unused media and set a sensible handle so there is not too much media to recapture. I am sure you can search posts here and at the HDV forum where I have described this path in greater detail.
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“That’s actually a mistake. If the footage is 23.98psf, you absolutely want to capture and edit in 23.98, regardless of what the delivery format is.”
Not where I come from sunshine. A 25psf tapes get captured as 1080 50i.
You poor buggers in NTSC land have cadence catastophe that we just chuckle about.
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ProRes422 or Uncompressed HD. As stated, the SDI output sorts the pixel aspect.
HDCams have a scheme called progressive segmented frames (psf). It is possible that your tape is shot with this setting. Check for psf displayed on the HDCam deck during playback. This signal can be captured by a 1080i setting in FCP.
If you are delivering to a broadcaster, then use the 1080i setting. As always, check what format the broadcaster will accept.
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Do you have the sample rates matching on all devices? I don’t know that box but there may be issues as to who is clock master. I suggest making the computer the clock source, although you haven’t specified the type and model of the DAT machine.
Another option is to go straight into the G5 spdif input. You will need to convert coaxial spdif to optical spdif.
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I have had frame accurate inserts to dgi beta for over two years using both a 500 and now a 2000 Sony. However when I use HDCams (2000 and 1800 I get the one frame late problem which I compensate for by subtracting a frame from the in and out points in the edit to tape window.
I suspect it has something to do with reference video. I use a Decklink HD Pro card and I don’t think it locks to external SD color black when in HD mode. However I am sure it does in SD and there are no insert errors.
How many of you with this problem have house sync to the card and machines?
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The best way is not within a system like FCP but using external hardware. However, within FCP many recommend the Nattress Standards conversion filter.
The way you suggested is not a good path.
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If you are using FCP6 then you can drop the DV into the timeline and FCP should automatically scale it to your sequence setting. Make sure you have the anamorphic flag ticked if the DV footage is 16:9.
If you drop it in a FCP 5 timeline and manually scale it will need to render and any changes like color grading will require a re-render.