Michael Gissing
Forum Replies Created
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I would advise using the CC first to reduce peak whites. The broadcast safe is also sometimes not legal after rendering. I use the RGB limit filter which seems to work better for some reason.
These filters flatten the highlights which is why it is better to make adjustments with the 3 way CC and use the safe or limit filters to catch the odd spike.
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My understanding is that HDCam shoots 50i. When shooting a progressive image it shoots in 25psf, which means progressive segmented frame and that signal is 50i.
All the HDcam work that I have done has been captured and edited in a 50i sequence, regardless of whether it was shot 50i or 25psf. That said, I only deliver to broadcasters who spec 1080 50i. If you are scanning back to film then progressive sequences may be needed. Never heard of 25i. I suspect it is actually 50i.
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I am currently using a Buffalo Terrastation NAS to stream two DV streams simultaneously to the video servers that link with the audio editing system. This is not a problem and is only using single giganet connection on both the computer and the NAS. I go via a D-Link switch which lets me set priority and QOS.
I have just purchased a second NAS for audio & video streaming which is a Thecus with two gigabit ethernet connectors. If you intend to run HDV off a NAS to a single Mac then in my experience that would not be a problem. Higher data rates will be an issue if you wanted to use ProRes. Uncompressed is totally out of the question.
Both Decklink & Kona have speed disk software so take that to your local store and run the test. I looked at the Netgear and with dual gig ethernet, it is a nice machine. The Thecus had five slots which was better suited to my needs.
If you consider the NAS, format it as one big drive with redundancy (RAID 5).
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Absolute must is to talk to your sound post people! Not all audio systems handle 23.98 .
The time stamping of bwf files assumes real time, not .01% drift. If FCP can run at true 24 then that is what I would do.
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Every pro audio app that I know of can import CMX compliant EDLs. If it doesn’t then it is not a pro app.
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If it is going to be a flash then deinterlace. Flash is not normally displayed on an interlaced monitor so deinterlacing makes it computer monitor friendly.
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Mark,
The sequence bed is 50i and the material is 25psf in your case. That is still a progressive image. If your material was not psf then you would need to set field dominance to upper. Even if you set it to upper, it makes no difference to the image if it was shot 25 psf.
As all my work is broadcast with some digital projection in small cinemas, I always use an interlaced sequence and that way I can have both 50i and 25psf in the same timeline. The roll credits look smoother to me in interlaced.
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Depends on the camera used to shoot and the camera you are planning to buy. Some HDV cameras but not all can be switched to play 50i or 60i. However there can be issues between JVC cameras and Sony/ Canon cameras. Also some cameras have proprietary modes which other cameras can’t play like 50p, or Cineframe
Ask your friend what camera and format was used to shoot and then select your camera to be compatible.
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If your sequence is 25psf then that is the correct settings. However, try the 50i setting as well. I have had the same problem with that deck and it is both the reference input setting and the 50i 25psf setting.
In my case I was 50i and the deck was set incorrectly to psf but it gave me the same garbled greenish blocking
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Interesting Jeremy. Thanks for that. I hope Martial and others take note.
However, my experience so far is that uncontrolled device is the way editors have so far dealt with this type of capture and of course I get to find out about it months later doing the online.