Michael Gissing
Forum Replies Created
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In ancient times, software to globally ripple EDLs, reel by reel, was invented. Called Shotlister, this amazing software, which was originally written for Windows 3.1 and still runs today on my WIN XP machine, will manage your problem. It also does lots of other list management tasks using a graphic interface to the horrible EDL, text editor alternative.
Also amazingly, the inventors Jack Swart and Nick Repin are available via Jack’s web site https://www.users.bigpond.net.au/swart/digiteyes/index.html
You could contact Jack and perhaps offer a few shillings for the best EDL manager on the planet.
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Ben,
Christoph has a noise reducer in his repair bundle. I have just ordered the entire bundle plug ins so can’t report on how effective this is I ordered the disk. You can download a demo from the site.
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I am doing HD uncompressed 10 bit 4.2.2 on the same model G5 with 3 gigs RAM. As long as the RAID is fast enough then it is no problem to do uncompressed HD on your computer.
I like using the Canon XLH1 to capture HDV pics as it has an HDSDI built in, although it doesn’t embed audio. Software uprez of HDV to uncompressed looks good, but nothing beats real time. The new cheaper Canon has HDSDI with embeded audio. Looking forward to that puppy. Both the Miranda and Convergent boxes are good too, but they tend to have a picture glitch on camera stops.
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Justin, I am mostly dealing with recapture of offline in online so I know what you are trying to acheive. Here is my workflow
Copy the final sequence into a new project. I usually name it as “(title) Online”. Right mouse click on the sequence and select media manager. Select ‘create offline’. Choose the desired sequence compression for online. Deselect ‘include master clips outside selection’. Select ‘delete unused media from duplicated items’. Select ‘handles’ and set the size you want. Deselect ‘include affilite clips outside selection’. Deselect ‘include non active multiclip angles’.
Chose the destination drive to save this new project to. Save and then open. You will notice that all is offline as expected, sequence is set for correct compression. Select sequence and batch capture. This method makes a project with only the clips that are in the final cut with handles. As a further refinement I delete the audio before the media manage and recapture just pics, which is why I make a copy of the original sequence.
A mix down aif from the offline is my audio companion during the long hours of grading and making titles safe. Graphic element like jpegs and high res QT movs need to be reconnected.
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Firstly, Hi8 tapes are used to record the DA-88 multitrack PCM format and is a standard way to deliver a 5.1 plus stereo Lt Rt mix for optical sound.
Secondly a sync drift that is noticed after 4 minutes is neither the .1% drift of 24 to 23.976 nor 24 to 25 frames per second. That drift is 4% and would be noticed within two seconds.
My guess is that there was not a proper relationship between timecode on tape and the digital wordclock signal. This leads to drift between the digital audio and the timecode. Imagine if you didn’t have timecode synced to video. Same deal with digital audio.
This problem always happens when a DA-88 is on internal sync and the audio is fed in via analogue. Feeding in a digital signal with the DA-88 locking to the external AES audio would solve this.
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Sony is actually an acronyn for Soon Only Not Yet.
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If you don’t need all the media, then create a new offline project from the edit sequence in media manager, selecting “make offline” & “delete all unused media” and then add handles. Don’t include master clips or affiliated clips outside selection. Then batch recapture just that new project.
At least that way the main selected media is done without recapture and reconnect issues. Any other media required can be logged and captured to continue the edit.
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Standard workflow here is offline captures from camera or deck via firewire using the downconvert to standard def DV. No dubs to another tape. That’s asking for timecode problems.
Edit offline @ Dv. No issues with FCP managing or disk space. Also no need for an HD external monitor. After fine cut lock off, media manage project to HD Uncompressed, deleting unused media with 2 second handles. Batch recapture HD SDI off the Canon HDV camera (pics only. A mixdown of the offline sound is a reference.) I have tried the Miranda and Convergent for HD SDI. The Canon is best for going over cuts. The camera is set to downconvert via the firewire and FCP controls the camera via this firewire.
This workflow has resulted in sync accurate reconforms. The only issue is the shift from lower to upper field. This moves image one field which if you wish can be corrected in audio post. Watch archive footage as this field shift can expose tight edits. Make sure the editors leave a spare frame on the head and tail of source archive.
Grades and titles are then applied in HD. Also any reframing, supers etc translate.
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Without a card (Decklink/ Kona) then you won’t be able to externally monitor codecs other than the HDV back into the camera. Are you using external monitors?
My fav workflow is to capture HDV as standard def DV. Simplifies everything including external monitors. Then I recapture as HD uncompressed for grade and titles once cut is locked and media managed. Best results for me are to use the Canon HD1 as the recapture device as it has HD SDI built in. You can always software up rez to either uncompressed or DVCPro 100HD from an HDV timeline but again, without proper external monitoring, how are you going to online? I would always prefer HD uncompressed providing your drives can manage.
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Why did Canon put the 4 channel feature on this camera? I don’t think 4 channel audio capture is possible using HDV firewire. More importantly, like DV cameras, using the four channel mode drops the sample rate to 32khz.
As an audio pro that also uses FCP, I always advise clients to record 2 cannel 48khz. If you need four channels then you need a sound recordist preferably with a location multi track system that produces broadcast wav files.