Michael Gissing
195
COW Coins
190
DaVinci Coins
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Solve Coins
Forum Replies Created
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What Blackmagic card are you using? There should be a control panel to setup input & output options. Do you have the appropriate drivers for your OS installed?
Have you done all the usual things like trash prefs etc?
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[Tom Wolsky] “but you’re probably right. It probably is that and not AIFF.”
I have been telling people to use aif so if it is and FCP has got it wrong, then it is a worry. I see no point in FCP being smart about flagging a frame rate for an audio file. If it is a broadcast wav, it is told what the rate is. If it is guessing on wavs & aifs, then I wish it wouldn’t.
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How have you connected the deck? HD SDI? RS422? reference?
Is the deck connected to an external monitor so you know it is playing a picture? Have you been through the menus on the deck to make sure it is outputting?
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Dolby E is a data signal and should peak to zero on digital meters. If you are outputing from FCP, levels should be unity and panned hard L&R
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FCP is capable of picture finishing for broadcast and like Walter, I have been using it to deliver HD & SD broadcast programs since version 4.5. A good monitor to grade on and good cabling to get the computer and drive out of the room are essential to making a proper environment to present your final online to clients. Biggest expense will be broadcast tape machines like digi beta and HDCam. Also think long and hard about a decent patching/ routing system. Buy good speakers!
The weak point is audio. FCP is crude and Soundtrack Pro is still a toy. Broadcast deliverables for audio really need a better edit/ mix system, particularly as undipped stem pre mixes are required. The sort of routing and dynamics control required means that all our work is done using a Fairlight and just our final compressor limiters cost more than a MacPro & FCP combined.
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Prores is also 10 bit. It might be a bit quicker to render ProRes. A simple short test will answer that on your particular system.
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[Tom Wolsky] “What easy setup are you using? Change it to a 29.97fps preset.”
? She is editing @ 25 fps.
FCP seems to be somehow trying to ID audio with a frame rate. There have been a lot of posts about sync drift on imported wav files since Vers 6. Audio really only has a sample rate but with broadcast wav it is possible to timecode stamp the metadata with frame rate info. FCP however seems to be trying to flag a frame rate in plain old wav files. This is the first time I have heard of it with an aif.
Once FCP gets it wrong it doesn’t matter how many times you import that file. Somewhere the system has guessed and stored info on that file which is wrong. I would suggest that you delete the file from your FCP system. With the original file, rename it and then copy it onto your FCP computer and then try importing it again into your 25fps sequence.
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Uncompressed HD needs a hard drive system with serious speed. You can test drive speed with free software. Both Decklink & Kona have free speed disk software to download.
Kona3 is probably the best card but think about your needs and compare features with Decklink & Matrox. There are cheaper Kona’s too.
Capturing as ProRes is probably a better alternative to uncompressed and may be Ok with your internal drive system, depending on how you have set that up.
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The sound should be processed separately into an ac3 file.
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[Rafael Amador] “if is to get smaller files, you can always export 8b/32 Khz.”
That would be horrid! AAC would yield a better result. 8 bit reduces the dynamic range drastically. 32khz isn’t such a big deal but for this application it would still need to be rendered in FCP.