[Peter Groom]

HI
1) lay your shot on the timeline
2) roll to the point where you want it to freeze
3) match frame that frame into the player window
4) select freeze from the menu (cant remember whoch, probably edit menu) and select how long
5) create the freeze and it should load up
6) Insert edit that freeze at the freeze point for the desired length
7) If trimming this duration, select only the freeze side in trim to maintain the match frame out point
8) do your cromakey layer etc

Peter

[Peter Groom]

Yep, component is separates, composite is all signals composited into 1 video signal which is where the problem will lie.
Look for a non rgb input

Peter

[Peter Groom]

Personally I will never again buy any piece of audio kit from Sony.
I bought what was a fab desk in the dmxr100 for

[Peter Groom]

I agree to the digidesign option, but JUST to give an alternative source of reading, the sound on sound site has a good pro tools section in the technique area.
Good tips hiding there

Peter

[Peter Groom]

Yes as already stated, the duc is the place for loads o this topic.
Personally I do have a Canopus, but prefer to use a Decklink Blackmagic Pro card to output the video. I also can use this to capture from digi beta and it gives me 9pin sony rs422 functionality and is genlockable, so a pro end solution.

Peter

[Peter Groom]

You could probably sweep a sharp Q eq filter to find the best reduction on the rubbing noise, but this would more than likely severely impact on the speech also.
I think (presuming that adr isnt an option which is how youd normally get round this) that youll most likely have to live with it and make sure it never re occurs. You may be able to get rid of some by finding other occasions where he says an affected word and replacing it but far from ideal.
Is adr out of the question?
Peter

[Peter Groom]

Well, maybe not rock, but I like to think of myself as at least a few pebbles, or maybe even a small bag of gravel.
Peter

[Peter Groom]

What I was meaning (and not explaining terribly well) was that the absence of timecode means that the usual ablitiy to re capture and re constitute a sequence isnt there (conform), so the omf must be made / exported from this original sequence, as a mere project timeline or edl wont be able to correctly re capture (or will be a very manual and painful process.)

“The capturing and syncing will be done on a system located near the shoot, but ultimately the project will be finished on another computer (with the same version of Final cut). ”

If this is the case, then youll need to make sure they port the media and fcp project info on a hd to the new machine. Without timecode you need the original material.

Does that explain my post?
Cheers
Peter

[Peter Groom]

HI
If you intend to export an OMF FROM THE COMPUTER ON WHICH YOUVE CAPTURES AND SYNCED, and edited, then there will only be problems if the dubbing mixer needs to go back to the source tapes for anything.
If you make sure you include wild tracks , correct channels and enough handle in the OMF the hopefully hell not need to backtrack.

The timecodes really are important if anyone needs to reconform the sound from say an EDL but this is very Old school and not likely INHO.

Cheers

Peter
Dubbing mixer

[Peter Groom]

Either, your background in video provides you with enough expertise to go off and do this process yourself for free, or it doesnt. If it doesnt then you will have to stick to the studios deal that presumably youve agreed to wherein theyve advised on the best way of getting to the end result.

There are 2 types of people in this world.
Those who wear suits, have meetings, then see who can actually do it for them –
and those who just do it.

Peter