Sean Oneil
Forum Replies Created
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I don’t believe I’ve ever had this problem.
But what I have had to deal with is that since we started using a RS-232 patchbay, I have to change the playback offset from the default +.04 to +.05 on all of our systems.
This is especially annoying since every Decklink update overwrites the Device Control presets.
We have one AJA card (Kona 3). The default offset for that is +.01. With or without the patchbay, it never needs to be changed on any deck I’ve used so far.
Sean
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I don’t think Quicktime has that capability. But you can always make a multiclip in Final Cut.
Sean
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Its just something stupid that Quicktime Player does w/ BMD software installed. 29.97 clips show up as 29.66. And if you open up a DV clips, for example, it says under format that it is Blackmagic DV (which there is no such codec).
I don’t think it will actually affect anything.
Sean
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[Jeremy Newmark] “4 gigs
“Good to know. That could have a lot to do with it.
Sean
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720p60 is actually larger than 1080p24. But not by much.
Sean
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Lots of people are reporting success capturing with a quad G5. That’s good news for those who have that.
I’d like to know what it’s like using “Edit to Tape” with ProRes HQ HD.
On my dual G5, I can capture ProRes SD no problem, but using “Edit to Tape” gives me a dropped frames error every 3-4 minutes or so.
Sean
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[Borjis] “I’m on G5 quad hardware with 4gb of ram to a multibridge extreme and everything is working with fcs2 just fine except for 2 small things related to motion 3.”
You just haven’t found them yet.
– It seems Photo-JPEG and other RGB codecs are unusable in FCP 6 – at least with BM hardware. There’s a gamma shift during playback (you’ll find a discussion of it on here)
– DV50 NTSC footage that was captured in FCP 5 is unusable in FCP 6.
– The new “Mixed Format” feature doesn’t add 3:2 pulldown when putting 23.98 footage on a 29.97 timeline (instead it adds 2:2:2:4 pulldown which is bad).
– The Blackmagic Easy Setups for ProRes that came with 6.2 drivers. They’re all set to 8-bit instead of 10-bit. A mistake they made which was mentioned here. Easy to fix yourself of course, but that’s assuming you even know about it.
Sean
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You have a 1200A. There is ZERO reason not to just capture DVCProHD over firewire (assuming you have the firewire option board).
Editing DVCProHD on a ProRes sequence gives you all the benefits you’d have if you just captured it in ProRes to begin with. And you’d save half the space and get better RT performance.
Furthermore, if you are mastering back to DVCProHD tape, you might as well skip the whole ProRes thing altogether. No reason for it. Just edit on a DVCProHD sequence.
You should read up on “native editing” to get an understanding of what it is.
Sean
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How much memory does your system have?
Sean
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I have a lot of 2:3 NTSC footage available. So I just tested this out with the new Final Cut and Cinema Tools.
One cool thing. FCP6 converts NTSC w/ 2:3 into 1080i60 w/ 2:3 perfectly. I was shocked. So they got that right (surprisingly). But converting it to 720p60 on the timeline does not work. It doesn’t deinterlace it properly.
Anyway, the new Cinema Tools will let you reverse telecine 1080i 60 footage, but you still can’t do anything with 720p. Sorry.
What I would do if I were you is just capture NTSC 23.98. Your client can work with in his or her 720p timeline. Its realtime in FCP 6. Even with FCP 5 it’ll work fine, you’ll just get an orange render bar. If that’s a problem then use FCP Media Manager or Compressor and convert it to 720p 23.98 (like Jeremy suggested). Just do a batch export overnight.
Sean