[Michael Gissing]

I would check my render settings to see if they are on white or super white. Also check to see what type of dissolve you are using. Is it a simple cross dissolve or something else?

Try putting the alternate clip on the next track up and do an opacity ramp instead of a dissolve. It should be the same thing as a dissolve but sometimes it behaves better.

[Michael Gissing]

[Michael Sacci] “For fun I normally tell them, don’t worry DVD players automatically down-mix the 5.1 to stereo and then watch them twitch.”

That’s why I always supply a stereo LtRt mix for the DVD and broadcast stereo.

[Michael Gissing]

This seems to be reported a lot with FCP lately. I work in PAL and have never had this issue with round tripping between FCP, Fairlight and other systems, so I suspect it has something to do with 24 versus 23.98 interpretation within FCP

If your sequence and Digital performer fps settings are identical, then there shouldn’t be drift. My guess is the drift is .1% so you could try making a final mix file from Digital Performer with a .1% slow down (or speed up depending on the way the drift happens) and reimport that into FCP. There is no pitch consequence with such a small percentage so just do it as a stretch/squeeze.

[Michael Gissing]

[Bob Cole] “is there a “frequency analysis” filter which will give me information for EQing?”

Your ears are the best guide. It sounds like you are out of your skill zone here and the best advice I can offer is to send this to an audio pro who not only has better noise reduction but also understands the intricate balance between EQ, editing, mixing, dynamic range control and noise reduction.

STP is a useful tool but if you are already struggling with noise reduction, I don’t think it is going to save you. Multiple applications of noise reduction may help but without hearing the problem, it is hard to say. It is always a better idea to pre EQ.

[Michael Gissing]

[Jamie McDowell] “I’m sure I’m not the first to have this question but here I go anyway.”

You’re right. A quick search of this forum would show that this is asked at least once a week.

Basically there are a variety of possible workflows from in house slow to in house fast to outsource. They all depend on commitment to quality, convenience or budget. Please read the many responses and then if you have a more specific question to pose, then fire away.

[Michael Gissing]

I would be asking DirectTV if they can take an HD mpeg transport stream and deliver that way via Compressor. HD to DV to SP is a horrible workflow.

Next best is HDCam. Why SP?

[Michael Gissing]

I am not sure why in this day & age people are going telecine to DV. Surely it makes more sense to transfer to ProRes or DVCPro100HD at true 24.

This is about the third or fourth post with this workflow giving some grief in a week. Drives and computers are big, powerful and cheap enough to surely leave SD tape behind on film based projects. Apart from frame rates, I just can’t stand seeing DV qual pictures on a film based project.

[Michael Gissing]

You can keyframe and move both the clone target and the source with the CHV plugin.

[Michael Gissing]

Download helper is a Firefox extension that lets you download flash files from a variety of sources.

You can run Firefox on a Mac. You might also look at networking the Mac with the windows machines. We do that here with a G5, 5 PCs two NAS units and Linux. They all connect over giganet and it is so easy to move files around without burning a disk to move between machines.

[Michael Gissing]

It is possible to output a 24 frame to HDCam and then run the HDCam @ 25, then through a Teranex to a digi beta. The digi then needs to be restriped with the 4% corrected audio. The HDCam does a lousy job of pitch correction although it does try. This workflow also means you have you HDCam distribution master done. It also means the rest is done at best quality in real time without hours of rendering and mucking around in FCP.

Also bear in mind that even though pitch correct, the tempo increases. this has been very ofputting in some cases with edit timing and pace and feel of a show. Yes it preserves frames without introducing horrible hybrids. So better for pics, but a compromise for sound. It really depends on what is the more important, which is a show by show judgement.