Sean Oneil
Forum Replies Created
-
[Dave LaRonde] “Thanks for the clarification. Now for a question: Why the heck would they do that?
As enumerated above, the NDF causes fits should the need arise to recapture from the source tape, which very often is in drop frame.
I’d appreciate knowing the logic behind it. But right now, it seems like just another good reason to avoid 24 frames a second when working in NTSC. Too many obstacles.”
There is logic. There’s just no such thing as DFTC for 23.98 footage. The industry is trying to do away with drop frame it seems. The only purpose for DFTC is so the TC matches the time in real life. This is only useful for live broadcasting, or live security cameras – neither of which will you find 23.98 TC. HD is always non-drop I believe. So yes, I would avoid 24p if you have DF source tapes.
I take it you are using 24pA over firewire. Again, if you do 24p over SDI or analog by using pulldown removal from a Blackmagic or Kona, then it works differently. The original 29.97 remains intact, which would have helped you in this case.
Either way, both are complicated. They can have tremendous advantages but you have to have a complete understanding of how it works and what the limitations are. For example, using 3:2 pulldown removal, you can’t batch re-capture only the media you want. You have to capture the entire source tape or else the cadence will be thrown off.
One thing to check though. You can ALWAYS change the TC format of your clips. Go to “Modify->Timecode”. You can change to 29.97 DF, 29.97 NDF, 23.98, etc. It doesn’t matter what the actual framerate of the video is. The timecode format can be whatever you want it to be. And you can of course change the numbers too. So if you know what the start TC of each source tape is supposed to be, you might be able to fix it. Hopefully that’s something that can help you out.
Sean
-
How did you capture it? If you used a Kona or Blackmagic, the timecode will still be 29.97 TC even though the video is 23.98. Jog through it and double check to see. So EDL conversion may not be necessary.
-
Everyone’s weeks, not months, for Leopard. Going to wait. 10.3.9 was a disaster for me.
-
Wow, you’re right. One more reason I guess not to work in HDV if you can avoid it.
-
[walter biscardi] ”
I answered you in the Kona forum. Simply select AJA Kona HDV Playback and you’re set. You need to run your video to the monitor via SDI or Component.”He suggested his monitor only accepts HDMI.
[Zak Mussig] “FCP can’t monitor HDV over firewire. Maybe this will change some day, but with the second or so delay on playback from HDV source to FCP display I wouldn’t be surprised if it didn’t. To output HDV to a monitor you need a card.”
Can you clarify that? How do you output back to HDV tape if you can’t spit video out of firewire. I admit I’ve never tried to nor needed to monitor through the deck, but I have recorded to tape over firewire. So what you are saying makes no sense. Is this some sort of bug?
As far as audio sync, the trick is to monitor audio through the deck as well. Then it will be in sync.
-
[walter biscardi] “Render times are normal here, 1 hour for a 22 minute show fully color corrected. “
Your use of the word “normal” is subjective and relative to what you are used to. 1 hour rendering for a 22 minute show, to me at least, leaves at least 59 minutes and 59 seconds for improvement. The current version of FCP is built on technology from 1997. I think everyone is going to be blown away with what the combiniation of FCP6, Leopard, and an Intel Mac Pro will be capable of. Call me spoiled, but I feel its long overdue.
-
I would try to de-bloat the project as much as possible. Copy the seqeuence from the browser into a new project and close the old project. Having unconnected media could also cause problems.
And yes as mentioned, check speed changes and any 3rd party filters.
-
MP3. I use iTunes.
-
FCP feels sluggish and bloated. Large projects take ages to open and save, and having them open causes instability and can occationally crash.
RT Effects are great with SD DV. That’s about it. Anything higher, uncompressed or HD, it’s very sluggish and render times are horrible with most effects. Multicam, color correction, working with high-res stills. It’s painful. And mixing formats is a nightmare of course.
So yeah, I welcome a ground-up rewrite of FCP very much.
-
If your monitor is DVI or HDMI, you need the Blackmagic HDlink or similar product to view a true broadcast video output on an HDMI or DVI monitor. It converts HD-SDI to HDMI. Not all monitors are supported though.
If you need a quick and free solution and you already have an HDV deck, don’t even use the Kona for monitoring. Use the HDV easy setup to output over firewire, plug the firewire into the deck, and plug the monitor into the HDMI port on the deck. In other words, just monitor through the deck.