[Paul Escandon]

I’ve done this with DV – and all you had to do is set the device control to “non controllable device”. Then just hit play on your camcorder and do a capture now. Using this method FCP would capture everything you were seeing on the tape, including dropouts.

Now, I’m not sure if this is impossible with HDV because it’s an interframe codec… but I think it’s work a shot.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

ProRes 422 (non HQ) has a target bit rate of 145 Mbps, while ProRes 422 HQ has a target bit rate of 220Mbps. Depending on the type of material you’re working with, though, a lot of people state they can’t see a difference between the two. It’s worth checking out for yourself so you can see if you can save a little space.

* * *
Paul Escandon – Lead Editor @ Outdoor Channel
Producer | Director – Oremus Productions
http://www.oremusproductions.com
Apple Certified Trainer – Final Cut Pro
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Be the guinea pig! Then we’ll all know!

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

https://docs.info.apple.com/article.html?artnum=306892

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Hey there,

Wow that was a thorough post! You were very specific about everything, and that helps.

It honestly sounds to me like you’ve tried most of everything that I would suggest you try to try to figure out the problem short of actually reinstalling the software. I don’t think the problem has anything to do with the specific license that you’re working with – that should effect performance one way or the other. You’ve trashed your prefs already, so no point in trying that again.

At this point I would probably suggest doing a complete reinstall of the software. If that doesn’t help you might need to think about doing a fresh install of the OS and then reinstall the software fresh. Those might seem like drastic measures, but it’s usually a last case scenario for diagnosing the problem. You’re computers should clearly be fast enough for DV.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

It’s my understanding that you can’t preview an HDV picture over firewire at all without the use of a third party device… but you’re saying you used to be able to do this? I think I’m not understanding something – can you clear this up for me?

Also, when you say you only get black on tape are we talking about trying to Print to Video HDV footage back to an HDV camera via firewire? Or are we talking about something else?

More details please.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

I didn’t read him say anything about stabilization – I’m assuming he’s trying to retime the clip and that’s why he’s trying to use the optical flow in motion to retime. Am I right in this?

Using Chris’ advice is still worthwhile in that exporting just the portion of the clip you want to use will save you from an overly long analyzing process. Give that a try and see if you still have the problems you’re experiencing.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Well if that’s the case then I’d see no reason why setting up an NTSC DV timeline would be a problem whatsoever. You might want to try the setting you had with the fields set to none, and also give it a shot with a field setting turned on (say.. lower). I’d do a test DVD burn of both and see what looks better to you.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Is one of those formats a dominant format that most of your footage is in? Or is there an equal mix of HD, SD, different field patterns, and after effects movies?

Also, what kind of a project is it and what is your intended output? Is this going to broadcast or just getting burned on a DVD? This info would be helpful in helping you.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

MY quick response would be that Dell Ultrasharps are solid monitors. I’ve been using them for years at home, while I have ACD’s at work. Dell’s to me are on the same level as cinema displays and I really notice no difference between the two as far as my work goes. At home I have 2 Dell 20″ displays and a 23″ cinema display to monitor from the Matrox MXO… and I wouldn’t hesitate to recommend a Dell Ultrasharp.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University