Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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[walter biscardi] “Seems like a lot of extra, unnecessary steps.”
But Walter, the BBC spend lots of time and money designing workflows to do exactly that. They always prefer a cumbersome labour intensive approach that, to be fair, is usually bullet proof.
It justifies the employment of tech support personnel who rarely understand the requirements of the operator, dealines and budgets.
Sadly, many other broadcasters adopt these BBC ‘standards. Our ABC is often a culprit here in Australia.
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If you are using OS X 10.5.6 then perhaps you might need to upgrade to a version of FCP that is compatible with your OS.
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I should also point out that the out point also has no post roll so the audio out will have the same problem.
This behaviour is bewildering to anyone who has worked in video and audio for longer than computer based editing. I am amazed that FCP and AVID have never changed their methodology to something that makes proper insert editing possible.
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The concept of instant start on the edit point is one of the many mistakes that AVID made and FCP copied. In all video editing prior to AVID, machines pre rolled and locked so that video and audio was rolling pre cut.
As Baz points out, digi beta and HDCam machies have a default 10m/s crossfade so if the audio starts from the cut, there will be a 5 m/s hole or click at the edit. FCP cannot do an audio insert properly, unless you re-lay a whole sequence.
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720 x 576 is the correct frame size for PAL standard def. By creating a 1024 x 576 quicktime, you have a file that will correctly display as 16:9 on a computer.
A PAL DVD requires 720 x 576 so Roxio is correctly changing the file back to anamorphic. If you want a decent DVD, you are better off making an mpeg2 file in Compressor, maintaining the correct anamorphic ratio.
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“…. AND the HDW1800 deck has a built in bars and tone generator….
”Sure, but I prefer to do the assemble at 10 seconds than at 1 minute. If I am playing out to tape, I have FCP patched and ready so it makes more sense to use the bars & tone in FCP.
I keep an HD & SD project handy which is just bars, tone, board and countdown. Much easier than dicking around with Sony menus.
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Broadcast deliverables in Australia start with 1 minute of bars so I feed bars from FCP to code the first ten seconds as the rest of the program picks up those bars at 10 seconds to the program end.
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I was interested in the Wacom’s Cintiq 12WX which lets you display the FCP 3 way CC and use the pen on that screen. It can be mounted horizontally. I assume it would work with Color as well. Not sure if it is under your price radar.
https://www.wacom.com/cintiq/cintiq-12wx.php
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Firstly, I am surprised Maya can’t work with anamorphic footage.
I presume you are in standard def but you don’t specify NTSC or PAL so I am guessing NTSC (even though most of the world is PAL).
If you want to batch convert, then Compressor is probably your best bet, although others here may have better ideas. To calculate the conversion, you can either use a calculator or there are many free aspect converters like this one.
https://www.digitalrebellion.com/aspect_calc.htm
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FCP is not generating timecode. Your deck is.
I set the HDW1800 t/c to internal – preset – run, feed bars from FCP and crash record the first ten seconds, having set the code generator to start at the correct timecode. Then I do an assemble edit to tape and pick up at 10 seconds for bars & tone, with the deck picking up and generating code.
No need to pre black the whole tape. You just need a pre roll at the head.