Michael Hancock
Forum Replies Created
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If you don’t have FCP, you need a DVCProHD decoder like Raylight. Download the demo here (watermarked until you buy it).
https://dvfilm.com/raylight/raylightHelp.htm
Michael.
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What NLE are you using? That will tell you whether you can retain the CC info.
However, if you’re dumping to DVCam, I don’t think it will retain the info regardless of the NLE. DV requires a different kind of CC than Beta (I believe), since Line 21 is cropped (720×486 analogue versus DV’s 720×480), as someone already mentioned.
Michael.
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Awesome. Hope it doesn’t have to be pulled.
Michael.
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When you render from AE, are you rendering 720×480? If so, what codec?
When you import into Avid, are you selecting Non-Square/Maintain as the import option? Avid is 720×486, even when you work with DV. If you import 601 you’re stretching your graphic 6 pixels, and that may cause the crunch. Otherwise, change your Comp settings in AE to 720×486, rerender, then reimport into Avid using 601 size.
Is you timeline in Green/Green mode?
Are you rendering to fields from AE then properly interpreting the fields in Avid upon import? If you’re not rendering to fields from AE, are you selecting “None” for the field options upon import into Avid?
Have you hit Play in Avid to see if the stair stepping goes away? When you stop playback in Avid you’re only seeing 1 field, so that may also account for the stairstepping. I’ve often been disgusted by the graphics I import into Avid only to love them again when I hit play and watch them on my broadcast monitor.
Give us some more details based on my questions and we’ll see if we can get to the bottom of this.
Michael.
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[Hoolio Fashina] “What about a simple text file?”
Select the bin you want to export as a text file, then go to File–>Export. Choose Tabs Delimited as the file type and it will export a text file.
Note, if you have an object in your bin selected it will want to export that object, so deselect any objects in your bin first.
Michael.
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[Dan Danner] “Have you had the issue where you try to ftp a show or video to a station but they don’t know what ‘ftp’ is?”
Makes you wonder, doesn’t it? I’ve encountered this with out-of-market stations, but luckily every broadcast station and cable outlet in my market now accepts spots via FTP. It takes longer to upload than it does to make a Beta, but we don’t have the tape cost, wear and tear on our decks, and their sales reps don’t waste their time and gas driving to our office to pick up dubs. We just load the spots on a computer dedicated to FTP transfers and go back to working on the next project.
A little off-topic here, but one thing I’ve noticed is that many stations I’ve FTP’ed spots to don’t have a very detailed spec sheet about what filetype they want. From only one local station did we received very specific instructions (Mpeg2 program stream with Mpeg1 layer audio, 720×480, maximum data rate 8000, etc…), but most just let you upload whatever you want and reencode it on their end.
Needless to say, there’s some crunchy looking stuff on air, but if you take your time and really press them about what their systems accepts you can send a file that will ingest directly, without a reencode. In our case, our spots have never looked better because it’s allowed us to remove the tape operator (who probably doesn’t care that much about checking levels since he’s getting maybe 7 bucks an hour) from the equation, so what we send out is exactly what goes on air.
Back on topic, definitely call the stations for their spec sheet, but don’t be too surprised if you get one that says, “Mpeg2 files”, and that’s it. Or “Quicktimes”, with nothing else to go by. So be prepared to send some tests and have them check the quality on their end. When FTP started taking off in my market I saw a lot of field reversal issues on air, so it pays to test before you send something to actually broadcast.
Michael.
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I agree 100%.
When I was doing promos at a TV station on an old Xpress Meridien I had Sapphire effects. We were running 5.x and found out we could update our system to version 6.x, but the upgrade broke the Sapphire plugins. Called Genarts, asked them what my options were, and within minutes they fixed my problem and I was back to working.
I even have a Genarts Sapphire t-shirt I wear all the time to show my appreciation to a top-notch company.
Michael.
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You could try deleting the media files of your SD Quicktime, then select the now offline master clip and choose Batch Import. When the Batch Import box pops up, select the quicktime and choose Select Location. Point to the first DPX file (I assume these are numbered sequentially), and in your Import settings check Autodetect Sequential Files. This should import your DPX files as a movie and replace your SD Quicktime with your HD source.
Oh yeah–make sure you switch to an HD project first or it will downconvert your HD DPX files to SD on import.
Michael.
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[johnsabbath d’urzo] “or future work how should i handle this account, he is a grinder.”
Either drop him, or he pays with cash or signs the Visa slip before he gets the final product.
He wants dubs to go to air? He pays you before you hand over the tapes. If he wants to send a courier, you send him the invoice and the courier brings it along, signed and paid, or the courier brings cash. If the courier shows up without the cash or signed slip, send him/her back without the tapes. Remember: No tapes until you get the money.
Regarding last year’s money–if you really want him to pay it, stop doing work for him now until he’s current on all outstanding bills. If he takes him work elsewhere and won’t pay, go to small claims court (but good luck ever getting a dime). If this guy is a grinder you need to either learn to deal with him (get paid before you give him the final product!!) or cut him loose. Otherwise he’s going to keep taking advantage of you and you’ll always be owed money.
Michael.
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You can capture an hour, but you need to go to your Capture settings and change the maximum time you can capture to 70 minutes. You may think, “70 minutes? Buy I have a 60 minute tape!” True, but hour tapes are often just a little over an hour, and 70 minutes should give you enough headroom to get the entire tape.
Michael.