Sam Cole
Forum Replies Created
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[Dave LaRonde] “just about every DVD player ever made has no problems with NTSC DVD’s, even in PAL countries. So if you have an NTSC version of your project, just try burning it as NTSC”
Does it work the other way around? Here in PAL land most if not all DVD players can play NTSC. Is that the same with sending PAL DVD’s to NTSC land? Are NTSC DVD players dual standard? Are US Blu-ray players dual standard?
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Thanks for the suggestion Steve. I spoke to my technical guy here and he already had several emails about it but evidently Christoph went quiet on the matter.
We are now looking for an alternate plug in that does what we need seeing that ProKey is broken.Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
We use Behringer BCF2000 in all out edit suites. Never used anything else, but these control surfaces work excellent and have never missed a beat.
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Where I work here in Sydney we use an AMPEX ADO 100 to do aspect ratio conversions for preview playouts.
And in the racks there is a 4 channel AMPEX ADO 3000 with a combiner and it all hasn’t been turned on for 10 years!
We also have an AMPEX Century 2ME 32 input vision switcher that has a built in 16×32 a/v router. It is now only used to feed preview screens.
If we had to power the whole lot up for any length of time we would have to consider our ‘Carbon Trading Offset’!Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Ok so from what I understand playing back off an SxS card has no advantage where as ingesting directly off the camera via HDSDI while shooting will be a definite advantage.
thanks
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
[Dane Henry] “10hr render seems like a small price to pay for the ability to go from one editor to a completely different one…don’t ya think?”
Ditto that – and to think that you can import an Avid project into CS5 and then export that out to FCP….. Avid to FCP without the duck?
Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
Hello Mark – Glad that I could help out with that one as I too had a hard time with it.
I had a TV series I had to re-version a while ago. A lot of the segments were only on completed ‘master tapes’ but part of the deliverables was to provide accurate EDL’s of the shows.
Seeing as there were large slabs of mastered material I obtained the original EDL’s.
After finishing each episode I imported the EDL’s as ‘off line clips’ for the segments and placed them on V1 of the timeline as ‘disabled’ underneath the actual media. This then allowed me to generate an accurate EDL to include the original segments.But on export to tape these ‘disabled’ clips were giving me the problem you spoke of.
As I needed to keep these disabled clips in place I just duplicated the sequence and deleted all disabled/off line clips and used this sequence to export to tape. After the export was done I just deleted that sequence.Sam Cole
On line Mastering Facility
FCP, Avid, Adobe
Sydney, Australia -
I remember there was an issue with FCP that caused this problem. It was caused when there were disabled clips in the timeline. I would just delete the disabled clips prior to exporting. Can’t remember it happening since we went to FCP 7.
What version of FCP are you using?
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I don’t know if this helps but we recently did a job where the client needed 4 projector screens to run 4 video’s synchronized to each other.
All the video shot was SD so we created a timeline for each video and then nested in a quad split at 1920×1080 and mastered it out to HDCAM.
At the venue they framed the projectors to their required quadrants and played it off the HDCAM deck. The lights and stadium sound locked to the timecode
Unfortunately at one of the venues the JH3 HDCAM deck died so luckily we had our Macbook Pro and a MXO2 and played it off that. We had an audio file that had timecode so we placed that in the timeline and ran it out a separate audio channel. You got to love having rehearsal time!
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[trevor ambrose] “What is the practical application of an “extreme” card?”
It is used for capturing other types of media eg anything SDI like digibeta and HDCAM. Also, various incarnations of the Decklink cards can capture analog A/V in both composite and component form.
As our industry is slowly moving to a tapeless workflow there is less need for a ‘capture’ device but still the need to be able to monitor externally when editing. That is where the Intensity card comes in.
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