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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A moment of sanity please. FCP will output a digital stereo file at exactly the same level as the data on the file if it is panned L-R and the level is left a zero. I have measured this to an accuracy of .1db If the meters are showing clipping on a file mastered for CD, I am not actually surprised.
Meters can be calibrated to display clipping when a single digital word goes to zero. I suspect FCP is doing just that but don’t panic. It is done to warn operators of danger territory. Most pro meters are calibrated to show clipping when five words in a row do the same. I had a DAT machine that would constantly show clipping when other digital meters didn’t.
On the issue of broadcast levels, there have been heaps of posts that I have made about those so a search will answer all questions. I agree with Carsten that unless it is for broadcast no changes to the levels should be made.
To answer Larry Asbell’s concern – no FCP doesn’t drop levels -12db on capture. It captures at unity. The reason there is +12db gain is that location sound is often recorded very low and one of the most common threads here is how to make it louder than +12db
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I still have Shotlister – an EDL management software tool that can remake EDLs as source time, minimised spooling etc. I am sure there are other tools that did the same thing back in the bad old days of EDL
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Just import via firewire as HDV and edit away. There are Easy setups for that. If you have a Decklink or Kona card you will get 1920 x 1080 SDI & component output. If you transcode to another mpeg format to make the source files 1920 x 1080, you are loosing quality.
It is also possible with FCP to capture via firewire and convert to ProRes on the fly which will make your new files 1920 x 1080. Do a forum search on that. I think Chris Poisson has an article on it
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The G5 has a firewire port on the front and another one on the back. Have you tried both of these ports?
And can you tell me if the camera plays the tapes and you can see something in the camera viewfinder.
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[Emma Assin] “any advice? what do people usually do?”
I use FCP to grade and add filters. There are excellent plugins for film type deinterlacing etc. Unless there is another reason to take it to AE, I would search the forums here for info on using the FCP color correction tools and film look.
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Do the tapes play on the Panasonic camera? Can you see an image in the viewfinder? Have you tried different firewire cables? Have you tried all the firewire ports on your G5? Do any other firewire devices work with the G5?
It is hard to trouble shoot with so many variables.
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Might be a conflict with the external drive which I assume is also firewire. Can your system see the camera with the external drive disconnected?
Try rebooting with the external powered down and unplugged.
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I will guess you are working in SD. The Apple 10 bit Uncompressed 4.2.2
codec is the same thing as the Blackmagic10 bit codec so they should look the same.What happens when you copy paste the Tiff sequences into a 10 bit Uncompressed 4.2.2 FCP sequence? Also, are you seeing the banding before you export? What are you monitoring on? ProRes is a compression codec and you are doing a double conversion going from the tiffs to ProRes and then to uncompressed.
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Firstly you haven’t told us the codec you are editing with and also what codec you are using when you export from FCP.
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4:3 will usually just be a centre punch of the 16:9, cutting off the sides and any text outside as well.
The only way to be absolutely sure it won’t happen is to move all the text inside a 4:3 title safe within the 16:9 version. I hate doing it too and wish that 4:3 broadcasting would just go away, but it won’t so I comply. Digital Heaven have a simple 4:3 title and action safe generator for 16:9 projects. Just drop the clip on top of your text and it will show your safe areas.