Oliver Peters
2
Apple Final Cut Pro X Coins
6
Avid Coins
17
COW Coins
1
DaVinci Coin
1
Premiere Pro Coin
Forum Replies Created
-
Remember that native HDV work in FCP5 requires that major portions of the timeline have to be rendered to reconstruct the IBP cadence – even if it is cuts-only. This is a lossy process, even if it is relatively clean. I’m not sure if anyone has thoroughly tested the frame-accuracy of these decks. For instance, if you offline using HDV or DV, will a batch recapture using DVCProHD or Uncompressed HD be frame accurate? Then there’s the drop-out issue.
You may be better off dubbing to a 1200A first and then using those select tapes as your new sources.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
If you have access to a standard Avid software disc, you can install EDL Manager onto most Macs or PCs. This doesn’t require a dongle and will let you open an Avid project and generate an EDL.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Daniel,
This is a frequent theme these days. Xpress Pro simply DOES NOT WORK with many of the modern sound cards – especially if they are set up for surround. You might try disabling this card and see if you get sound back. It sounds like the EMU card is a custom pro-audio card and not a standard PC item. Correct? If so, there is probably no chance that it will ever work with Xpress Pro. Of course, the frustrating part is that it most likely will work with Premiere Pro and/or Vegas.
Complain directly to Avid. In the meantime, you can either work with Mojo only (this bypasses the computer’s card and becomes the audio subsystem) or get a different audio card which is compliant (see Avid’s specs on their site).
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
csharp,
You can move the media if you export it from the Avid files. Ange’s comment about H.264 is totally irrelevent (no offense) to what you want to do. Your Avid media is wrapped in an .OMF file wrapper which has to be converted to a QT file in order for FCP to deal with it. This could be done as a batch export from Avid, though the time to do it might not be worth it. You would have to get it into a codec FCP will be happy with in order to play in RT in FCP. For example, if you an now on a Mac Avid you may have more QT options than with a PC Avid. Because of this you might be stuck with 8-bit uncompressed instead of DV or DVCPRO 50. You’ll have to experiment. The best bet may still be to recapture your clips.
Complete sequences are best moved using Automatic Duck or possibly an EDL. However, if you only want the edited story and don’t need handles, then output to tape or do a mixdown and export that.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Bob,
You are incorrect. They are still there and in business. They were purchased by Silicon Optix who is extending the research into the consumer market, such as for high-end HD home customers. Teranex systems are still available for purchase and they were at NAB with new products. Post houses who have purchased these devices rent time as a service. The closest, I believe, is Cineworks in Miami.
There is a whole lot more going on in what they do than “line doubling”. This is just scaling and that’s precisely what Kona2 does. That is easy, but more simple, when compared to what boxes like Teranex, Snell & Wilcox or even a Quantel iQ do with the image.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Well third party integrated support would be nice; however, you can also add a Canopus converter for analog I/O to/from DV over 1394 (FireWire). You can still only work in the non-Mojo resolutions, but you do get conversion to/from standard audio and video.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Isaac,
The problem is that the DSR-45 isn’t adding set-up to the analog output. Io is expecting to see analog black as 7.5, so in effect you are capturing footage which is blacker than broadcast legal analog blacks. The digital DV signal doesn’t use a set-up and so blacks are at 0. Unless the video is “shifted” on output to fit into NTSC values, the video will be at 0 instead of 7.5.
When you look at the output of the Io on an NTSC scope the video has 7.5 set-up. Since no effects have been added, Io is allowing the illegal levels to pass. When you add an effect, the levels as clipped at the legal values, which means that these “crushed” blacks are flattened. The only way to avoid this is to: a) use a deck with “add set-up”, b) use a deck with an SDI card, c) use a third-party proc amp between the deck and the Io, or d) capture via FireWire.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
It also depends on whether your encoding is set to CBR (shortest), 1-pass VBR or 2-pass VBR (longest). You might wish to play arouund with settings and build a custom preset that works for you. I typically use Bitvice which is much slower than Compressor. A DV to MPEG2 conversion (around 6.5-7.5Mbps CBR) takes about an hour for a 20 minute DV source file (on a 1.5GHz PowerBook or older dual 1.25 G4). Also remember that when you start encoding, Compressor sees 2 files – the video and the audio. It assumed the audio conversion will take as long as the video and so gives you a time estimate that is in effect double what it actually should be. If you reveal the info in the history window as it’s encoding, you’ll see what the real time values are.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Check out this link.
https://www.chv-plugins.com/bezierpro.html
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
I do a ton of pro stuff on my 15″ PB (1.5GHz, 1GB RAM). It works with FW800 drives and AJA IoLA, so I’m pretty happy with the results. The main thing the G5s do better is higher resolutions (though I do uncompressed 8-bit on my machine where flauless PB isn’t a real necessity) and much faster render times. I opted for the 15″ because I thought the 12″ was just too small for other real work – Photoshop, Word, Excel, etc. The 17″ is great, but a bit too big to be a workhorse laptop for normal use. Great desktop alternative or road-editing machine, though. BTW, I also run Motion on this PB. Nothing heavy duty. I mainly installed it to get the Motion items added to the FCP export menu (FCP 4.5).
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com