[Richard Sanchez]

Here’s the rub about preparing a project to broadcast when it’s not being prepared for a specific broadcaster, is that they’re all different in their requirements. So, the odds of you needing to adjust your video before you send it off to the broadcaster are extremely high if not, definite. However that is a separate issue from your timecode issue, so I’ll leave that be for now.

Your tape is going to need to be dropframe if it’s going to be broadcast, which means, it will have to be recaptioned if you move ahead now. Also, being non-drop your duration probably isn’t spot on which it will have to be if it’s going to be broadcast. How long is your program?

Back to the issue of broadcasters, they will have different specs as to how they want their audio splits on their masters, audio peak level as well as a multitude of other factors. Even the term “broadcast quality” is a shakey term (per several conversations on this forum), the broadcaster I’m delivering to requires that the show be shot on 2/3″ ccd cameras, and bitrates at 100mps or greater. We have a special agreement that allows for a small percentage of 1/3″ footage and upconverts since a part of our show is user submitted video. However, it’s best to be aware the ambiguity of the term “broadcast quality”

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

In your user preferences, did you deselect the option to stop and warn you when you drop frames on playback? That could certainly account for it.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

It’s fine. We’re cutting an hour long series for History on it right now. As Shane and Walter said, you want a Kona 3. We shoot on Varicam and P2, but the footage we receive as evidence ranges from DV, to H.264, MPG4, Betacam, VHS, we even had one Betamax tape. All that is put together and laid off to D5.

I think it goes without saying, that if you’ve never done this before, you want hire someone who has onto your team.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

You definitely want to use After Effects for this. There’s a tutorial on how to create this on videocopilot.net.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

What’s up Shane? It is a bass, that’s funny, I’m the same yelling at people calling it a cello too! Does she listen to Bill Haley and stand on top of it yet? It’s only a matter of time!

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

The P-List file is just one of four files you need to delete in order to trash your preferences.

workstation>Mac HD>Users>Workstation>Library>Preferences>com.apple.FinalCutPro.plist

workstation>Mac HD>Users>Workstation>Library>Preferences>Final Cut Pro User Data>Final Cut Pro 6.0 Prefs

workstation>Mac HD>Users>Workstation>Library>Preferences>Final Cut Pro User Data>Final Cut Pro Obj Cache

workstation>Mac HD>Users>Workstation>Library>Preferences>Final Cut Pro User Data>Final Cut Pro Prof Cache

You also might try repairing your disk permissions, with the Disk Utility.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

First off, Bill, I loved the Lost Skeleton of Cadavra. In any event, I had this issue recently with a program for History. Some DV evidence footage had blacks that would dip below 0 once rendered in our prores sequence, despite them have the Broadcast Safe filter set to “Extremely Conservative”.

I think it has do with the FCP’s RT Extreme downressing the clip for playback, that was causing the internal waveform and vectorscopes to not see all the luminance information. The bummer is that it required me to render those clips, adjust the blacks, and then rerender again to make sure I boosted them appropriately. It’s not elegant, but it worked.

Otherwise, you might also consider a Harris DL 860.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

If you’re using a Kona 3 to layback to tape, you can use the downstream keyer for this. If not, you can use the watermark feature in compressor to add it as you compress. Otherwise, as David said, if you’re doing it within Final Cut, it will require a render.

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

1.) Update to the Find feature that allows you to search the timeline by codec.
(It’d be a God send for evidence / user submitted based programming)
2.) An Edit to Tape option that preserves the VBI
3.) 2:3 Insertion for dropping 23.976 footage in a 29.97
(It’s already been mentioned, but it bears repeating!)
4.) Lower bitrate flavor of ProRes specifically for offline work (ala Avid DnxHD 36)

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks

[Richard Sanchez]

The HMC-150 uses a 4:2:0 color space which might make it less likely to hold up very well in post, though I’m interested to hear what people are saying about keying with it, especially if they’re saying good things. I recently cut a piece for a band that used an XL2 for close ups, and an SD9 for a master angle. The SD9’s maximum data rate is lower than the HMC’s, and they shot at a medium data rate. That said, I was extremely impressed with how the footage looked. I applied mild color correction and it still looked great.

There are two factors to consider in this situation though, which is that my final output was for an SD DVD, and also that the footage was transcoded to ProRes422 upon ingest. Due to the 4:2:0 color space, if you blow out your highlights, don’t count on pulling any detail back out in post (not like you would with DVCPRO HD’s 4:2:2 color space) but I was extremely impressed with how the footage looked, and am currently eyeballing the HMC150 myself.

P.S. If any of you use the SD9, that zoom mic feature is awful! Bleck! I don’t know if you can disable it, but if you can, do!

Richard Sanchez
North Hollywood, CA

“We are the facilitators of our own creative evolution.” – Bill Hicks