Shane Ross
Forum Replies Created
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The HD for Indies guy recommends the FirmTek stuff.
Here is his review:
https://www.hdforindies.com/2004/12/review-of-firmtek-seritek-1se2-and
And here is the Firmtek link:
https://store.yahoo.com/firmtek/
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Send the signal out to your camera or deck, then route that INTO the DVD recorder via RCA. That should work.
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25fps is the frame rate in Europe. Tape, film…both. 24fps is the frame rate for film here in the US…although for video we use 30 fps (29.97).
What is the target output of this? Film? To play in theatres here in the US? or in Europe?
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FCP 4.5 will not work with HDV footage natively, thus the advent of FCP 5 (well, it does other things too).
FCP 4.5 CAN edit HDV if you capture with Lumire HD, but I am unsure of the codec it uses. And it isn’t free. And if you capture using iMovie HD, then you are using the Apple Intermediate codec and are compressing the footage.
She will have to buy FCP 5 if she wants to work with HDV natively.
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Avid OMF? Not EDL? For some reason I have it stuck in my skull that OMF is for audio only…so you can OMF video too? I will have to test this.
Oh…except I don’t have Automatic Duck. DRAT!
I may come in a bit early tomorrow JD, just so I can add to the conversation. Have RB call me. AFTER 10 AM. I am the night shift…
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e-bay. Look for a used G4 dualie on e-bay.
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JD. Buddy! This is…well, you know. The guy who sits in the bay NEXT to you…at night.
This is just the issue I was exploring for this show I am planning on for This History Channel. Except we are starting with FCP.
The biggest stumbling block I see are the effects and transitions. Since we tend to use some specialize ones (Boris) those might not transfer. Not like going from Avid to Avid, as you know. We’d have to stick to the simple dissolves and wipes And Animattes won’t really transfer either…and we LOVE our Animattes.
What I would do is export the EDL via Automatic Duck, import that into FCP, and either capture DVCPRO HD and UPCONVERT by dropping it into a 10-bit uncompressed timeline and then outputting to D5 (You’d need the Kona 2 or Decklink 4:4:4 for this…and Fibre Channel drives) or capture 10-bit via the Kona 2 or Decklink from the Panasonic deck and then output to D5.
I’d suggest calling Digital Film Tree and ask for thier advice. I bet they get Avid to FCP projects to deal with.
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Anytime you add a filter…and render…you lose a little quality. But seriously…not enough that unless you are projecting this onto a theatre screen, you will even notice.
The easiest way would be to nest the whole squence and then apply the 16×9 filter…and render. But, unless all your clips are framed for this, you might get some odd framing, so you might have to adjust them.
But I don’t know your footage.
Cropping, adding black clips, making a garbage matte or just adding a filter will all degrade the image slightly…and probably in the same amount. Again, something you won’t really notice.
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You are using an OLD machine my friend. Dual 450? That is a 5+ year old machine. Very slow by todays standards.
And yes, you are very spoiled by the G5s are work.
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First you need to use a Standards converter to convert the PAL footage (50i) ot NTSC (60i)…like the Standardds Converter from http://www.nattress.com ($100). Then you can reverse telecine the footage to 23.98.
But by then it might look very jittery…