Michael Gissing
Forum Replies Created
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The Decklink Pro is a standard def card. It can’t playback HD.
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So if it is a problem you have isolated to Compressor, I assume you tried upper field dominance?
Personally I never have a flutter at the races…
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I am using the Buffalo Terrastation as a video server in the same way you are expecting the Lacie to work, However, that is to feed DV codec streams to a video playback system synced to our two audio suites. I also use it to back up media and project files from FCP but not to stream uncompressed video. I don’t think you will be able to sustain two streams of uncompressed over giganet unless the drive supports dual giganet connection and also jumbo frames. You are also going to need a sophisticated gigabit switch that can give data priority so that other network chatter doesn’t take bandwidth.
A fibre channel raid server is a better bet for uncompressed.
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You can either move the tifs to the same drive and reconnect or after the online is done, just make a QT file as 10 bit uncompressed and take that file of the finished program to the post house to output to digi beta.
I have had many editors bring their project files here to output to dig beta and when they haven’t got all their media on the external drive, FCP wants to reconnect. Even if you have rendered, the fact that the file is missing means the project displays the deadly media missing warning, not the render file.
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An EDL from the FCP will give you the source timecode info as well
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Does it look elongated on an external 16:9 monitor? or just the canvas. If just the canvas then your sequence isn’t set to anamorphic.
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Media Manager has a bug that manifests on speed change shots. I believe the latest version of FCP is the best for MM.
A way around the problem is to render QT files of the speed change shots and then drop them in the timeline to replace the original speed change shots. THe advantage of this is that a timelapse shot might be 16 minutes long for a ten second shot so it further reduces the media as well as avaioding the MM bug. btw the bug affects reverse shots too.
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Yes I Dave – you are definitely bitter.
I work with docos and often need archive material, sometimes from tin pot little regional broadcasters. If you can’t supply 16:9 (which is the mandated format here in Australia for the past five years) then we have to blow up and crop which makes it look like VHS badly framed.
16:9 is going to be the broadcast frame for a long time so just get over it and move on OK. Even if you don’t think your footage has any future to it, then bear in mind that most of the rest of the televsion world is 16:9 so try to stay current at least.
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Shane,
How do they then track back the original clips for onlining?
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Do you have 16:9 cameras that are switched to 4:3 or are you talking about buying new cameras?
If they are proper native 16:9 cameras that are shooting 4:3, then you are just cropping in camera. This is the same as bringing 16:9 into FCP and centre cutting the image to 4:3. The result should look the same in quality terms, but you will have at least originated in 16:9 to be future proof.