[Rick Mcnealy]

Thanks for the tip on the HDX 400…I’m not a camera buff and was unsure which Varicam shot 1080.

We terenex all of our DVCPRO HD shows from 720 to 1080 but for this new customer they seem determined to get 1080 source materials…I am still trying to explain that the difference is insignificant.

Does HDV hold up for color correction? I need ammunition to talk them out of HDV…I’m getting the “I’ve read that HDV looks fine”…I’m trying to explain that looking ok and actually working with what is captured is a big difference. Things like restricted abilities for Color Correction, poor Keys and noisy compositing are things that will help my pitch.

If HDV is inevitable, does anyone have 2cents on working with SONY HDV in a broadcast environment?

Thanks for everyones time in advance.

[Rick Mcnealy]

Thanks for the advice…I’ll instruct our colorist. I attended the FCP seminar in DC…It was very informative…Thanks Gary.

[Rick Mcnealy]

we take the DVCPRO HD and dub to HDCAM for use with the DaVinci and then back out to D5

[Rick Mcnealy]

I have done the same re: print to video but my tape is off a few frames from my sequence. I’m not sure what we’re doing wrong…I’ve talked to others who have also had the same problem. This is going out over fw only. We don’t have any capture cards yet…will capture cards be more accurate with the 1200?

re: quality…I agree DVCPRO HD is lossy especially when doing multiple generations…that’s why we only use FCP for cuts only…all color is done on DaVinci tape to tape system. That might change if we get a kickass FCP card (Aja etc)…holding out to see what shakes out with Adreneline HD on Mac…We are primarily a Avid Shop with many Mac Mojos and one Adreneline. I know…I know save the Avid bashing I get the differences…I am just tring to protect ALL our investments.

Anyway…felt like typing…thanks

[Rick Mcnealy]

I’m able to get completely accurate start times of 01:00:00:02 by finessing with the start time in the timeline. Took a lot of trial and error, but we finally got it to where it hits every time.

That’s encouraging…how do you do it? How many frames do you offset? Is your offset always the same?

Depending on what day I think that our offset differs…my mind might be playing tricks…I’ve onlined a bunch of shows lately.

Thanks

[Rick Mcnealy]

are you able to get frame accurate print to tapes?

We go in and uot FW to the 1200 but can’t get it to start @ 1:00:00:00 when we print to tape. It ranges between :02 and :12 frames off…we correct for this when we convert to D5 for delivery but this seems like a problem.

Thoughts? Will going out HD-SDI with serial control fix this? Should I buy a card?

[Rick Mcnealy]

thanks I’ll give it a try

[Rick Mcnealy]

Thanks for the reply…the advice got me much closer…BUT it still has a small wobble

https://clev17.com/~baseprod/rix/fan_1.mov

Thoughts?

[Rick Mcnealy]

CT hase no size dialog box. ALSO the file is 1280×720 in the finder yet opens to half size movie (player window size) by default. When you go to QT’s actual size play mode it shows as 1280×720. When that is imported into AE for some reason there is something confusing it to think that it is half size. What am I missing?

[Rick Mcnealy]

I just noticed that when I import the clip into AE it shows the file as half size. Does cinema tools have the tendency to make the view size half?

When I opened the qt file itself it was playing half size…I swithed the file to actual size and it was @ 1280×720. When I imported the file into AE however it came in @ 640×360.

Any thoughts?