Rennie Klymyk
Forum Replies Created
-
Probably late with this comment but hi-8 is S-video so you should use that input.
-
Your settings look fine.
I had 2 PD-100 dvcam cameras. Tapes recorded in one camera wouldn’t play in the other camera and vis-versa (had the same problem you describe). My dsr-11 and dsr-85 would also only play one of the cameras tapes. I isolated the camera but oddly, you could record in it and capture from it with out a hitch. Find out how many hours are on the drum from the other editor, I’ll bet the heads are worn enough to only work in that deck only. The fact that you’ve tried 2 different decks and your current one is fairly new would point to the other editor’s deck. 1500 hours is typical of head overhaul with this type of gear as I recall. It could also be a tape speed issue with his deck. The only thing is he should be having problems with tapes recorded in other devices too. -
[Jeremy Doyle] “It was never an issue with DVCAM equipment so we never thought about until all of our stuff stopped working.”
This all started with DVCAM, you’ve been doing it correctly before. Looking at sony’s memo, it is when you are physically joining the wires where the wrong leads contact the wrong connection that the damage occurs. You probablly just weren’t using the “pin the tail on the donkey technique” of plugging in the wire. It’s when you don’t think it’s neccessary to walk around the back where you can see the jack but instead reach your hand around and try to locate the jack with your finger while inserting the cable with your other hand the danger exists.[Sony] “If there is an attempt to insert the plug INCORRECTLY (wrong polarity) the PC / MAC Computer
or other Device can supply power to the signal pin of the i.LINK. This directly connects to the
i.LINK IC and can damage the circuit.My dsr-11 fried my firewire system in my G5. A pci firewire card won’t co-exist with my kona2 card so that’s no solution. If you look at a bnc connector it is possible to touch the inner lead to the outer lead (you really gotta come in on an angle though) so I hope this won’t happen with other buses other than firewire.
-
One more possibility is if they are recording in LP from a consumer camera. Only consumer cameras and I think those clamshell decks record in LP mode which gives you 80 or 90 minutes on a 1 hour tape instead of 60/40. The dsr-11 won’t play them.
-
To bad you can’t buy in Canada, here they knocked $1000.00 bucks off the price instead of a free P2 card. Too bad they don’t give us the either/or option. What happened to free trade between Canada and US? I would prefer the P2 card option myself.
-
Yeah, it’s too bad the Snell wouldn’t do a kind of 30/25 pull down with flagged frames so the i/o points would remain in tact in fcp. Maybe NAB? hee hee, not likely as HD is here and this stuff has reached the end of it’s progression.
-
The AJA products are more specific. The matrox solution has a nice variety of inputs.
-
[rafalaos] “I think that MPG1 standard admits only one size: 320×240 and a bit-rate.”
Actually you can vary the structure almost as much as mpeg2. My mediapress card will do 720X480 down to 48X32 and it does 1×1; 4:3 or 16X9 aspect ratio. The format was in wide use predominantly in Asia 5 or 6 years ago for producing video cd’s but I don’t think it sees much use anymore. At that time blank dvd-r media was costing about $20.00 per disc and there was a big error margin. With the progress made in dvd software and the low cost of dvd discs it’s odd anyone is requesting it although you can email the files pretty easily. You could put a 90 min. movie at near vhs quality on a 750mb cd with it.
If your clients are really stuck on this format try googling mpeg 1 encoder, there should be a ton of freeware for it. Apple has never supported it from early on but instead pushed their own motion jpeg A and motion jpeg B (equally useless by todays standards).
-
That’s wierd, if the video originated as pal dv it should remain so even on an ntsc project (until rendered otherwise). Select a clip and check item properties from the edit menu. Try creating a new pal sequence and copy and paste the timeline from the ntsc time line to the new pal sequence. It would seem as though the system defaulted to ntsc upon start up.
[Alun Lewis] “I find the recording machine will obviously only accept the sound.”
This also seems odd. You should see some form of signal like out of sync or stepped video.What version of FCP and what computers are you using?
-
2 cameras isn’t that complicated. We all did this on the timeline since the advent of the NLE and before we had multicam. Typically you should have 1 camera doing cut-aways and the other doing safe coverage. The cut-aways should be the best footage with close ups of fingers on strings etc and lots of swish pans and out of focus junk in between. I always put this track on top and fly through it cutting out the bad stuff and deleting it. Underneath is the safe camera so you’re done! This works well as long as the camera ops are disiplined and do as they’re told but so often you’ll find they both do the cut-aways and you can be left with nothing to work with.
Now if you like you can lift the bottom track (#1) up on top to track #3 (or better, just copy/paste it to track #3)and quickly scrub through it to see what is still covered up.
If you have the budget you can do some slomo, composites, picture in picture or other effects.
Multicam is a cool feature but it’s not the only solution by any means.