[Ron Craig]

Addedendum:
I should have noted that I also using an AJA HD10AVA to convert the HD700’s component signal into SDI in order to get it into the Kona 3.

[Ron Craig]

Perhaps there’s any easier way but you could just rename all your clips to match the names he used and then re-linki.

And then ask him why he renamed all the clips if he knew in advance what your workflow would be. Try to keep your voice down.

[Ron Craig]

Thanks, Jeremy.

Your points are all very well-taken. Much appreciated!

— Ron

[Ron Craig]

Thanks Jeremy.

I would prefer to go with a higher-end deck, of course. But this gets back to my concern as a one-man shop, investing $3-$4 K in a format that I’m not entirely convinced is here for the long run. So, one follow-up question: If you were getting in just a few HDV tapes from time-to-time would you feel comfortable using the HD700 to capture that material into FCP (through a Kona 3)?

Do you find the deck sufficiently reliable to do that small — but very important — amount of work? Is the image quality everything it should be? And has the tape transport mechanism been sufficiently reliable to give you confidence about running your field masters through it?

Thanks for taking the time for this.

— Ron

[Ron Craig]

Thanks for the IO suggestion. My AJA product is a Kona 3 which is, of course, installed in my edit computer. So I can’t take it into the field easily. But I we could do the shoot in my office I would use your acquisition advice! Yes, I’l be you get a good image that way.

I use KeyLight in After Effects and have also have good results.

Thanks again.

— Ron

[Ron Craig]

Thanks to both of you. (I just got back from out of town and returned to the COW this morning.)

Richard, when do you apply that green blur? I haven’t done that before and it sounds like a great idea. Do you do that in FCP or AE or Keylight? Sorry… I’m just unaware.

Cheers,

Lee

[Ron Craig]

Yeah, that’s what I thought. That’s what makes it so frustrating. And, as I say, I’m sure it’s a localized problem here. I’ve set my QT plugin to play EVERY file type but still my Firefox installation just doesn’t appreciate your dulcet tones, Walter!

Oh, well. It’s one of those weird ones.

[Ron Craig]

No, I got no responses on this one. But I’ve had some discussions that indicate we’re not alone. I think I need to buy an HDV deck and capture through my Kona 3 card to avoid synch issues.

Good luck.

[Ron Craig]

Thanks, Bob. I figured MJPG was motion jpeg; I just didn’t know if I would be walking into a proprietary codec if I received material that was specifically Blackmagic MJPG. I’ll check that website for codec download availability before I head off in that direction.

No, I haven’t played a test clip yet because none of the transfers have been done. Oh, and I won’t be shooting any more Super 8! This is all old stuff. I certainly did take note when Kodak announced their production cessation. A moment in history!

[Ron Craig]

Perhaps I misunderstand your question but this sounds like basic editing. You have a good video file and a good audio file, right? The problem is just that the good audio currently isn’t linked with the right shot? So, just select the good audio and drag it to an audio track beneath the MCU shot. If you have to sync it “by ear,” don’t delete the bad audio yet. Instead, play both audio tracks simultaneously so that you can use the bad sound to sync the good sound. Then delete the bad sound.

If I understood your situation correctly and this works, consider posting other questions like this on the FCP Basics forum.