Richard Sanchez
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Has anybody tested the feature for preserving closed captioning? That would have been a ife saver at my last gig.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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If time allows, I would consider ADR. It’s tedious as hell, but car scenes tend to be quite a challenge even with good mics and equipment.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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A 14 way stripe should be fine for 10 bit uncompressed as long as it isn’t too full. If it’s more than 80% full, you could run into trouble. Did you hire an engineer or have somebody there who has used a D5 deck before. It’s not an extremely complicated deck, but it is a multiformat deck that will cause you trouble if you set it up incorrectly.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Without your specs, there’s really no way for use to even estimate the probability of drop frames. What Raid setup are you using, and how full is it? I’ve never had the Easy setups work great for me when capturing or laying back D5. First off, you’ll have to configure the deck to 720 24p with is done by hitting setup, and then going into the system menu.
I usually captured and laidback at 1080i 29.97, and set the Deck Control (in FCP) to the Panasonic 59.94 setting, and would layback a test pattern to see how much I needed to adjust my offset. Typically only a frame or to, and sometimes not at all. It was never extremely consistent in my experience.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Natively no. H.264 is a great codec for internet delivery, and it’s even one of the codecs for Blu Ray discs, but it is a terrible codec to edit with. I want to shoot to any serious capacity, that does not sound like the camera you want do it on.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Another alternative would be to dub the digibeta with the broken time code, to a fresh tape. Now you’d have continuous timecode. I would highly recommend you refrain from capturing without time code in case you need to revisit the project and footage.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Joel,
That looks like live capture software like Adobe On Location. It sounds like your method would be the same as setting the camera to “non-controllable device” and using the capture now feature. Will this break up clips when the timecode breaks?
As far as batch capturing goes, you can go into your user preferences and change the tab that says “On Timecode Break” from Abort to Make New Clip. That generally works pretty well. In terms of logging, it might require you to adjust your clip description or other logging information.
The other thing you can do, is manually relog it. You can drag your offline logged clip directly into the “Log and Capture” tool and it will start with the logged timecode and parameters, and then you can adjust your out point to accommodate the timecode break. (Minding necessary pre and post roll)
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I use Cal Digit storage, the 8 drive version would be the HD Pro, though I use the 4 drive HD Element. Great product, great tech support. If you want expandability though, Walter loves the Maxx Digital Expando Chassis. Great speed, and you can daisy chain more units just like you would firewire drives.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You’ll have to bring it into Compressor to bring down the filesize. If the 90 minute best quality template doesn’t work, you can either use the 120 minute best quality template, or you can manually lower the average bit rate and maximum bit rate.
Bring it into compressor will do a better job shrinking the filesize, while maintaining quality than bring it straight into DVD Studio Pro will.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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I would think transcoding to ProRes would probably be your best bet, as far is it being a more easily editable format, but since the bandwidth requirements of that codec are higher than h.264 you’ll need a storage setup that will be able to handle it well. Two hard drives in Raid-0, good, Three hard drives, even better. You can use Apple’s disk utility to raid them together.
I’m getting ahead of myself, how do you have your scratch disk setup? Also, is your H.264 video 720p or 1080? I find a lot of those H.264 cams record to 720p 30fps which can be of wonky with FCP. First off, there’s no easy setups for that, only 720 59.94 and 720 23.976. You can manually switch your sequences to 720p 29.97, but I don’t know if you’ll have much RT capability switching it around, since it’s not a format that FCP is expecting, and as Gary has mentioned before, it’s not a SMPTE recognized format, so you’ll probably have to a bit of conversion at the end depending on if you plan to go out to Tape or DVD.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks