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Rich Rubasch
June 4, 2011 at 3:01 am in reply to: 23.98 HD to 29.97 SD

So it worked finally to set FCP’s output to 23.976 as well as the control panel buffer and set the output to 29.97.

But then why did it also work to set FCP’s playback setting to 29.97 and then the control panel frame buffer to 29.97 and the output to 29.97? The output on the betacam ended up with the exact same pulldown cadence doing it both ways.

Could it be that both ways actually work? Wonder if an Aja tech could chime in here.

Just curious.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
June 3, 2011 at 7:05 pm in reply to: 23.98 HD to 29.97 SD

A RESTART AND RELAUNCH OF FCP AND it now outputs correctly to the Beta. Apparently. Interesting.

Thanks for your help.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
June 3, 2011 at 5:02 pm in reply to: 23.98 HD to 29.97 SD

Set it up that way and the beta did not get a signal and the lines from the Buffer to the output were all red.

Again, we send SDI to the Beta which feeds an SDI to component convertor.

What is your Final Cut Playback settings in the AV settings set to?

Also what about your exact sequence settings?

Thanks for your help…we did exactly what you suggested and could not get the cross/down convert to work.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
May 21, 2011 at 6:08 pm in reply to: Is quality effect when you compress over 90min on DVD

It’s pretty easy (between jobs) to set up some custom encoding settings and try them on the same clip of a short length (say one minute). Then look them over and decide where your quality threshold is. You can also get BitVice which is a great MPEG encoder at lower bitrates. I would do the testing method because for me, authoring two discs is probably more work for the quality loss, if there is one.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
May 18, 2011 at 10:31 pm in reply to: Text Tool: Title Crawl

Is it rendered? Do you have a green line or orange?

What are the sequence settings?

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
May 11, 2011 at 1:12 am in reply to: Routers

We have the Blackmagic on 6 FCP systems and along with that a simple composite video switch to feed a DVD recorder for TC window dubs from any source.

We also have a simple video switch (just a switch panel to solo an input) to send a signal to the monitor.

but love the Blackmagic. It just works.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
May 6, 2011 at 2:35 am in reply to: Assets come in interlaced – but are progressive…and…

Agreed…I do this all the time. It is a bug. Especially with DVCPro50 SD clips. I think with all the codecs and possible combinations both AE and FCP make a best guess, but you have to be the master of your domain and set it the way you need it and know it needs to be set.

It is best to import your progressive renders from AE and set the item properties in the bin. I believe it will maintain that setting once dragged into a sequence.

It is a hassle.

I’m certain FCP 10 fixes all this….not.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
May 2, 2011 at 1:20 am in reply to: $ Rate per minute but POST-PROD ONLY

All this being said, I still think that after several years cranking out every kind of video you should be able to look at the scope of a project and make a reasonable comparison to what it might take in a cost-per-finished-minute calculation. This would be based on length of video, kind of footage, demands of graphics compositing.

I do it all the time and we are darn close. The only thing no one mentioned as a variable, and the most important one, is what client you are working for. Some love what we do and we can predict that what we do right out of the gate will be great. Others take us round and round until we interpret what they wanted to see all along but had a hard time describing.

Those clients we add in considerable pad.

So we can calculate, based on type of post project, amount/type of graphics and client we are working with, quite accurately, how much a given project will cost per finished minute.

And, just to hone this ability even further, we calculate cost per finished minute after every project to see how we did.

Numbers are everything.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
April 29, 2011 at 12:18 am in reply to: Farewell to a Chicago broadcasting classic

Awesome…grew up with that ad. Watched the Sears Tower go up from a cherry tree in our front yard. I sing that jingle to my kids to this day….they don’t get it. But they sing along on….”Emmmpiiiiiiirrrrrrrre!

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com
Rich Rubasch
April 24, 2011 at 5:01 pm in reply to: best medium for stills

Wow, I would go with Keynote….the most elegant way to integrate video and stills and it looks great.

Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com

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