Scott Bush
Forum Replies Created
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Cool thanks for that – so many resources, sometimes they slip my mind!
I’ll have a look and see if/how much it helps.
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Thanks for the reply, Todd.
I’m not in front of AE now either but wanted to note that I did follow that link – but because it gave me a FCP Fronos manual, it made no mention of pre-composing to use masks… I will try that though, probably should have thought of it 🙂
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Wow eugene! That may be it… I still remember a larger version of it, but that’s the right idea and the lens mount is totally right, so maybe my mind is just playing tricks on me. I ended up buying an 8mm camera after they compared the picture quality side by side in the store, so it was definitely during the handycam era – but it also wasn’t any more expensive than the one I bought, so it may have been an older model. Either way, that’s definitely the same lens system! How did you find that picture? I’ve been searching for ages! Thanks!!!!
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Thanks a whole damn lot. 🙂
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Hi Bob, I think you’re making several assumptions about me…
First, I’m not THAT young, but not old either – I’m 31 – so I have some experience with tape to tape editing and did some live sports tape operating in my early 20s – mostly beta and digibeta, though (and EVS but that’s neither here nor there)… I understand the very basics of TBCs and such, and am no stranger to tape decks (even still) that cost in the 50-60,000 range – maybe even more. I work at a post house in NYC – I’m just more of an editor than a tech – but I know my way around a huge variety of VERY expensive equipment like HDCAM and digibeta decks and the like.The point here is to get these very old and deteriorating 3/4″ tapes digitized and placed on our company extranet – probably in MPEG1, so the quality isn’t THAT important… hence the DV converter box – we don’t need to tie up profitable systems for this, we’re using our ‘toys’. I’m not sure of the model numbers of the decks as I am home for the weekend, but fact is once I used the NTSC-only deck with the TBC, it worked like a charm – even through my “silly” DV converter.
My main question was about why the NTSC-only deck worked, but not the multi-standard — 3/4″ OR VHS. As I stated, the tech who helped me mentioned something about the multi-format (PAL/NTSC/SECAM) decks using a different NTSC signal than the NTSC-only deck. EVEN the VHS deck worked, but only when I took it out of auto mode and FORCED it to use a specific NTSC (it had two options for NTSC, I don’t recall specifically what they said). but BOTH VHS and 3/4″ multi-standard decks gave the SAME exact bad signal. I should note that they both work just fine straight to the monitor – it is only through the converter box that I get the problem. This leads me to believe that the tech was right – the 3/4 in multi-standard deck uses an NTSC signal that is not compatible with the NTSC DV box, and the VHS defaults (in auto mode) to this same incompatible signal. I’d like to know why – and what the difference is between these two variations on NTSC. The use of the VHS deck was to further illustrate the existence of the “variations” on NTSC. I’m trying to get my head around the two flavors of ntsc.
Thanks for your response, Bob, your time is much appreciated; but I think you misunderstood what I was asking.
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Cool! I was starting to wonder if I’d dreamed it! I remember when I was trying to buy my first camera (consumer level) I had my eye on it – but was convinced otherwise after a demo, mostly because of picture quality. It was at the end of its run and much better lenses and CCDs were available in smaller packages and I went with a hi-8 — but I remember being very intrigued by the possibilities. It wasn’t so easy to create a dissolve with consumer equipment in those days, especially not without significant quality loss. Thanks for responding!
Scott
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Heh, no not that either – not THAT old. It didn’t rotate – you could switch between them on the fly, while recording – dissolve or cut between them. One was fixed, wide – the other a zoom lens. Was a camcorder – no shoulder pack or anything needed.
Thanks for the link, though. Pretty cool.
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Nah, Matthew, I remember that Samsung thing, too – was actually fairly recent. The one I’m talking about would have been older than that early or mid 90s – I doubt it even took stills – and would have been pre-digital. BOTH lenses were for video.
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I tried doing it in the order you mentioned but it’s not fixing the problem. I’ve gone through all the sequence settings, all the compressor settings, and all the footage settings and the problem is still there.
After you set it to none in the browser you have to remove and then replace it in the timeline. If your edit is long or complex this can be tedious. I’ve been having this problem myself lately – have learned the hard way to check everything before I start editing.
The real question is why is FCP misinterpreting the footage?
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Yes, it was quicktime telling me that size.
I have gotten a response from Episode tech support and hopefully this will solve the problem.