Richard Sanchez
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You probably have Loop Playback set. Ctrl-L will turn that off.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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By any chance, are they taking your SD DVD and trying to blow it up to HD? Not all upconverting DVD players are created equal, so that would be suspect number one. If that’s not that case, what preset in Compressor did you use?
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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Noah,
Have you tried that MXF4QT with FCP? I know that’s the hot new toy for the P2 workflow, but do you know if it works with the HMC150? Their website says it works with AVC-Intra, but their ads seemed to be more geared toward the HPX3000 as opposed to the HMC.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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One issue with syncing, is that you are putting it into a 29.97 drop frame sequence, and 24p is always non-drop frame. Usually if your mixer can’t accept 24p omfs, they’ll tell you in advance so I’ll assume that’s not the issue. Are you syncing to a 2 pop? Since your mixer will be working in audio units, and Final Cut is working by frames, that could account for slight sync offset, but certainly not a drift.
Have you talked to your mixer about it?
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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If you don’t have a Kona 3 card or a hardware converter, compressor will be your best bet. Make sure your frame controls are on, and check out Shane’s Tutorial at https://lfhd.blogspot.com/2006/10/dv-to-dvcpro-hd.html Even though his tutorial is about blowing up DV to DVCPRO HD, going backwards is a near identical process with compressor.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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If you’re referring to the Panasonic Frame Rate Converter, that’s only going to work if the footage was shot using the Varicam slomo rates, as it will be removing duplicate frames, but if your footage was shot 720p 59.94, you’ll need a different method of converting it to 23.976. You could use the Advanced Format Conversions in Compressor. Shane posted a nice video about this (Though it was converting DV to DVCPRO, but the same basic principle applies). Here’s the link https://lfhd.blogspot.com/2006/10/dv-to-dvcpro-hd.html
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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On your RT Extreme pulldown (on the left part of the timeline, next to the timecode), are you set to Safe RT, and Playback Quality to: Full? I’m betting it’s set to Dynamic, which would explain that. It might require you to render each time, due to the Safe RT setting, but it will be full quality at playback. If that’s not it, we’ll look into something else.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You’re going to have to layback Digibeta. Those decks can typically read multiple formats, but only write back to one. Is it an M2000?
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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That’s the beauty of the IMAC, is it’s portability. It’s curse is, it’s not very expandable. The reason you need a macpro to lay back to Beta SP, is that you need your storage on it’s own bus, and you need your IO on it’s own bus. If you have a Sata RAID attached to a pci bus, and a Kona card on it’s own pci bus , or even an IO (which is firewire based) they will have their own dedicated bus to provide the throughput necessary to layoff to betacam sp.
The IMAC will only give you firewire, and it will share the same bus, which means your hard drives and io will be fighting for that throughput and it just won’t work. If not, you could export your footage to a self contained quicktime and take it to a post house that can lay it off for you, but I don’t believe you’re going to be able to do it with an IMAC.
As you mentioned, you could do it with a Kona card. Mind you, not a Kona 3, as that is digital only and won’t connect directly to a UVW-1800 unless you get an SDI to Component decoder, which is yet another expense. You also cannot put a Kona 3 in an IMAC, so your only IO option is the IOHD, but you’re still left with the issue of throughput from your hard drives.
I strongly recommend you take it to a house to downconvert from the D5 master, especially since it was color corrected on a Da Vinci. You’ve already spent significant money making this look nice, and all these workarounds you’re considered would tend to defeat the purpose of all that.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks
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You really need a Mac Pro or G5 for this. Even if you use an AJA IO interface, I doubt the internal harddrive of an IMAC could handle uncompressed 8-bit. Nevermind the fact that it’s a very bad idea to use your bootdrive to capture to. You could edit material on an IMAC that was captured on a more robust system, but as far as being able to capture or layback, it’s far too limited a system.
Richard Sanchez
North Hollywood, CA“We are the facilitators of our own creative evolution.” – Bill Hicks