Michael Gissing
Forum Replies Created
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Check the Sharp Aquos series. The 37″ is not 1080i, but the 45″ is. I am using it for colour grading with no problems. Watch plasmas for delay. They are useless in my sound post area due to processing delay that makes sync a nightmare. Make sure with either LCD or plasma that delays are below 20ms.
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It’s probably too obvious but both the Decklink and the beta machine have the same refernece video
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Try the Boris crawl which comes with FCP4.5 and 5. I find it a much smoother credit roll tool. It is with the other effects under Boris, not under text tools.
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Better than component out, you could use either the Miranda HDV bridge or the Convergent HD Connect LE, which takes the firewire mpeg and converts it into HDSDI. However, as you have stated that you don’t have a card to take either HD SDI or component, then why not just export an HD uncompressed 10 bit 4.2.2 quicktime from the HDV timeline? Same as rendering with jbrad2’s solution but you go straight to the final QT file without tying up huge amounts of disk space. Uncompressed HD will need around 350gig for the 50 minutes.
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I have done a few projects where the editor captured from the Sony Z1 HDV camera into FCP as downconverted DV. Then the project file was reconformed on my FCP from a Sony Z1 camera as HDV, then upresed to Uncompressed HD. All was in sync so yes, the TC is accurate. I have also tested the Miranda and Convergent bridge boxes and recaptured frame accurate from HDV straight to uncompressed HD.
I also understand why you want to use this workflow as editing DV is bread and butter for most FCP systems, even on laptops/G4’s and older FCP versions than 5. It also simplifies the process of making vhs dubs or DVD’s for client approval, without downconverting from HDV. And I thought HDV was the same data rate as DV so same disk space anyway.
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CMX3600 EDL’s have a limit of 999 events. A 90 minute program will likely exceed that limit. Splits are the way to go
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After going through this exercise six months ago, I finally found a combination of Geffen extender plus good cable was the best option. I tried cheap cable and I was only going 30 feet. In the end Cobalt cable (yes expensive) plus the Geffen DVI extender (yes expensive) worked. If going more than that distance, it might be worth testing the DVI over Cat cable extenders or the fibre optic extenders.
Lesser cable & extender combinations gave horibble pixel noise making everything black look awful. If you don’t spend the bucks, the display is unwatchable.
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My problem was not capturing the video. Yes it was 25P and yes it captured HD SDI via a Decklink HD Extreme into a 108050i sequence. The AUDIO was out of sync 2 frames and I wondered why.
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There are set broadcast level standards for NTSC and PAL. They are close to identical with SMPTE peak levels of -10dbfs (thats decibels full scale on a digital meter). Please don’t talk in +db levels cause digital doesn’t have +db scale.
Pal is -9dbfs. These levels are also related to tone which must be -20dbfs (SMPTE) or -18dbfs (PAL). Wrong tone or peak levels means tech rejection.
OK thats the techo stuff. The reason commercials are loud is a combination of voice over projection, agressive music and all of that jammed into a tiny dynamic range with compressor/limiters. Don’t bother with meter levels, cause in broadcast land all must comply with the international standards. I can make something seem much louder without illegal levels.
Cable and satelite operators are often not demanding complinance with broadcast level standards so there is extra fault there.
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I have gone straight from uncompressed 10bit HD to SD MPEG with Compressor. No need to transcode it to any other format. One step – simple. Looks great. I modified the 60 min best settings (2 pass VBR) from memory.