Michael Gissing
Forum Replies Created
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Sure, the XL H1 is a camera. It does however have a feature that most HDV decks don’t have -HD SDI output, so it is the ingest deck of choice for me. Also many cheap HDV decks share the same mechanism as HDV cameras and are firewire so they are like a camera without a lens. Newer decks like the HDV 1500 are true decks and will outperform all cameras but at a price.
Connect the SDI from the XL H1 to an input card (Decklink or Kona). Connect a firewire cable to the camera. In the camera settings menu makes sure SDI output is on and the AV/DV option is on. Now in FCP load a standard capture setting (in my case I use HDTV 1080 50i) and change the device control to basic firewire DV PAL ( NTSC if that is your flavour). Voila, the camera behaves like a standard DV firewire device and outputs HD SDI. I have used this simple setting to online numerous HD programs. No messy component or using boxes like Miranda or Convergent to do the job the camera does. It is not at all shaky. Rock solid and in sync.
Of course you may choose to convert the HDSDI to any codec you wish. One word of warning tho – the XL H1 doesn’t embed audio in the SDI. It’s cheaper cousin the XH G1 does have SDI and embedded audio.
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I am using 5.1.4 and often make online HD versions from DV offline project files. I recapture the media as uncompressed 10bit 4.2.2 HD. The Media Manager takes about 10- 15 minutes to make an offline project file of a 52 minute doco. If your 4 minute version is taking longer than this then I am wondering what settings you are using. It would also help to know the version you are on.
I suspect you are using media manager to recompress the media. This takes much longer than recapture but again, some detail of your workflow will help.
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I have the Deckling HD Pro card and I just loaded the vers 6.0 drivers. The Decklink HD has both embedded audio in the SDI stream and AES I/O. Both are working with my card and the new drivers. If all you have changed Kevin is the driver and not the patching then it is a mystery.
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Yes speak to the facility. Don’t just send a Qt file without asking for format. H.264 is mpeg and may be a problem. OMFs don’t transfer keyframed audio levels nor plugins like EQ. They do included dissolves and can include clip gain.
Automatic Duck software can convert keyframe levels to a Protools session, but not everyone wants Protools sessions so ask!
I have at times been supplied a whole project on a drive. If you can’t afford a drive then I am not sure if you have the budget for sound post. At the very least you could consider it as a project backup.
Use Media Manger to copy the project over as mjpeg, which compresses the pics but not the audio.
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There are many third party deinterlace filters for final cut. I am happy with Nattress deinterlacers and I have seen and heard good things about Stibbs filters. They are all better than the FCP built in and demo versions can be downloaded to test for your specific web application.
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There may be many ways to do this but try putting the new clip on a track above the old one. Right mouse click the old clip and copy. Select the new clip and right click. Select paste attributes and then select the attributes you want to paste. This can include filters, distort opacity etc.
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Minor improvment can be made with the CEDAR decrackle module in the CEDAR for WIndows software. It won’t cure the problem but it does soften a bit.
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I think Joes filters has this as a plugin. Read about it at his site, downloaded the demo but not played with it yet.
https://www.joesfilters.com/joes-field-expander
it is beta software.
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codec?
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“What does that mean? :0”
It means that when timecode is used on a machine that doesn’t have an image, you can’t use VITC, only LTC. So when you used to try to syncronise a video machine and a multitrack audio machine, you needed LTC from the video machine to chase lock the timecode on the audio machine. VITC, although useful cannot replace LTC so both are required on videotape. I still use chase lock timecode in my studios via LTC