Ron Shook
Forum Replies Created
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Kurt,
[kurt kolaja] “I don’t get all the complaining about how heavy and difficult the EX1 is to hold. What a bunch a sissies.”
Sissies? You must have tiny hands that fit that designation. (g) The bottom of the handgrip is designed poorly and rolls off in a pretty way that is a practical disaster. Instead of resting squarely on the heel of the hand, it allows the handgrip to roll into the palm of the hand necessitating cocking your wrist at an almost 90 degree angle to keep the camcorder level, which is very hard on the wrist. 20 cents more plastic and a boxier design, would have fixed things. But, hey, it’s looks sleek and nice.
Ron Shook
Shoulder-High Eye Productions
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Rick,
[rick kadri] “I shot on the HVX200 NTSC version at 720p/24 and used the raylight MXF codec for vegas.”
OK! So you’ve got to talk to the folks at the transfer facility about what resources they can bring to the transfer.
[rick kadri] “So now im in vegas with the HD file at 960 by 720, my final project will be broadcast at 720 by 576.”
If Raylight will enable you to output from Vegas to a full MXF DVCPRO HD file and the transfer facility can work directly from that file, then that will give you all the quality that you’re ever going to get.
If the transfer facility must have tape to work with, then they are almost certainly going to have a DV deck able to feed analog component to the BetaSP deck PAL all the way through. AFAIK most, if not all, DV decks are NTSC/PAL switchable, probably including any DV deck that you have or can easily get your hands on.
So, from your NTSC 24p HD timeline in Vegas, using Raylight, I presume, export a PAL 50i SD file. Bring that into a PAL 50i SD project in Vegas and print to DV tape with the deck switched to PAL. If you have a PAL/NTSC switchable monitor you can monitor and view the tape. Take that to the transfer facility. You’ll lose some color definition info from the hd file by going to PAL DV (probably not readily noticable on anything but graphics), but at least you won’t lose vertical resolution by going to NTSC DV. And…, you will be asking the transfer facility to simply make a dub transfer from PAL DV to PAL BetaSP and it’ll cost you less than having to run the NTSC DV through a very expensive hardware converter to PAL BetaSP.
This advice is an informed guess on my part, a guess as to what will get you the best overall quality in the end. The Vegas/Raylight combination will give you a conversion to PAL that probably isn’t quite as good as a $50k hardware converter, but that should be offset by keeping all of your PAL SD vertical resolution (576 PAL vs. 480 NTSC), plus it’s the cheapest way to go. But do take the advice of the folk at the transfer facility, if they seem to know what they are talking about, and if you can afford it. (g)
Ron Shook
Shoulder-High Eye Productions
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Rick,
[rick kadri] “ok,so i cut my music video in vegas using MXF files then i exported an AAF to premiere where i applied FX then did an AVI render uncompressed.
So now im in vegas with the HD file at 960 by 720,”
You don’t give a lot to go on. What was this project shot with? Was it shot in NTSC or PAL? In DVCPRO HD? Was it a PAL or NTSC project edit? Did you use a 3rd party plug in to edit the HD in Vegas?
[rick kadri] “my final project will be broadcast at 720 by 576.
question: i need to take my file to a transfer facility to put the final cut to Betacam SP PAL. Should i output my project to tape at 720 by 480 before the conversion,or am i risking quality?”
Are you talking about going to NTSC DV25 tape? If so, then yes, you are not only risking quality, you will surely lessen the quality. You need to talk with the transfer facility about their capability to use your file and do all the transfering to BetaSP PAL, or you need a card in your system capable of outputting component analog SD which will allow you to translate to the proper PAL codec, and of course a BetaSP PAL recorder. I’m lost as to what you used and did along the way.
Ron Shook
Shoulder-High Eye Productions
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Erik,
[Erik Davis] “Here is the update on the .aaf file tests I have been working on and sorry for the delay.”
Delay, Delay, did someone say delay? I’m delaying, due to commitments, but I’ll try to sort this out for you next week, with a little help from my friends.
Ron Shook
Shoulder-High Eye Productions
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Wayne
[Wayne Grauel] “i have a DSR 80 that has next to no hours on it going to waste. is there anyway to interface this to capture to Vegas and have scene detection with scenalyzer ( WITHOUT THE COST OF A NEW DECK!)”
Yes, with cards from Black Magic or AJA Xena cards. I know that Douglas likes the AJA drivers best, and I don’t know exactly which cards might be appropriate. Perhaps you could contact Vegas support and ask their opinion and what specific cards will work w/Vegas. It might be your best bang for the future to spring for a card that has HD and SD SDI as well as analog I/O, but you’ll have to make that decision.
Good Luck,
Ron Shook
Shoulder-High Eye Productions
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Sheri,
[Sheri Christie] “We were able to change the settings on Video 1 from 8,000 Mbps bitrate to 9.800 Mbps bitrate.”
That’s not a good idea. It could hurt your compatability with some players. Leave it at 8k of it’s already there.
Ron Shook
Shoulder-High Eye Productions
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Craig,
[Craig Seeman] “The funny thing is why has it taken Sandisk so long to make the cards under their own name if they’re already making them for Sony.”
I’m sure it’s all in the corporate partnership agreements, whether based on time or aggregate quantity sold, or some other formula.
Ron Shook
Shoulder-High Eye Productions
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Don,
[Don Greening] “Worth a look:”
It was definitely worth a look, and several drops in my favorite places. These are fine devices, but only if the production stays with you for post-production. While you can use these devices for redundant backup, you can’t hand a client a bare drive. There are other devices (but at this time I think only available for 3.5″ drives) that are just as good, if not a little better. See these bare drive enclosures:
Internal:
https://cooldrives.stores.yahoo.net/quswsamorafo.html
External: USB/Firewire400
https://www.cooldrives.com/qwsaiitofian.html
External: USB/eSata
https://cooldrives.stores.yahoo.net/sibayesandus.html
The laptop craze and demand for 2.5″ hard drives has considerably lowered the price of pocket drives, which are easily handed off to clients. They cost about twice/GB what a 3.5″ external hard drive does but weigh less than a pound and are at least 1/4 as bulky. $100/120-160GB USB drives are readily available.
Ron Shook
Shoulder-High Eye Productions
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Don,
[Don Greening] “I heard that SanDisk has always made the cards for Sony.”
At the Sony Seminar at HD Expo here in Chicago about 10 days ago, the presenters let the cat out of the bag, and I don’t think that they were kidding.
SxS = Sony by Sandisk
Ron Shook
Shoulder-High Eye Productions
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Eric,
[Ron Shook] “I don’t understand how it could make a difference.”
I just had another thought which may very well be of no consequence. I don’t know about the exact pixel dimensions of the XDCAM SD files, either full res or proxy, but I’m just wondering if somewhere along the way you got sqirreled by having the wrong dimensions in the project file or conforming instructions, i.e., 720×480 when it should have been 720×486 or vice-versa?
Ron Shook
Shoulder-High Eye Productions
CreativeCOW Forum Host for Discreet edit*